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DUKE 

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LIBRARY 

EAST  CAMPUS  L^&RARV 


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The  GALLERIES  of  the  EXPOSITION 


Digitized  by  the  Internet  Archive 
in  2017  with  funding  from 
Duke  University  Libraries 


https://archive.org/details/galleriesofexpos01neuh 


FROM  A THISTLE  PROOF  COPYRIGHT,  DETROIT  PUBLISHING  CO. 

"PHYLLIS” 

THE  OIL  PAINTING,  BY  JOHN  W.  ALEXANDER 

GALLERY  69 


THE  GALLERIES 
of  the  EXPOSITION 

A CRITICAL  REVIEW  OF  THE 
PAINTINGS,  STATUARY  W THE  GRAPHIC 
ARTS  IN  THE  PALACE  OF  FINE  ARTS 
AT  THE  PANAMA-PACIFIC 
INTERNATIONAL 
EXPOSITION 

By 

EUGEN  NEUHAUS 

ASSISTANT  PROFESSOR  OF 
DECORATIVE  DESIGN,  UNIVERSITY  OF 
CALIFORNIA  AND  MEMBER  OF  THE  INTER- 
NATIONAL JURY  OF  AWARDS  IN  THE 
DEPARTMENT  OF  FINE  ARTS 
OF  THE  EXPOSITION 


PAUL  ELDER  AND  COMPANY 
PUBLISHERS-SAN  FRANCISCO 


COPYRIGHT,  1915,  BY 
PAUL  ELDER  & COMPANY 
SAN  FRANCISCO 

All  of  the  illustrations 
this  book  are  used  with  the  permission  of  i 
Department  of  Fine  Arts  of  the  Panama- 
Pacific  International  Exposition 


E , C . , 

lOS 

To  E.  D.  "Trask  ^ t 

Director  of  the  Department  of  Fine  Arts  of  the 

Panama-Pacific  International  Exposition  ^ ^ 

untiring  worker  and  able  executive 


CONTENTS 

PAGE 

INTRODUCTION  vii 

An  Historical  Review.  The  Function  of  Art. 

RETROSPECTIVE  ART 3 

THE  FOREIGN  NATIONS  .......  17 

France 17 

Italy 23 

Portugal  29 

Argentine 32 

Uruguay 33 

Cuba 33 

Philippine  Islands 33 

The  Orient 34 

Japan 35 

China 38 

Sweden 39 

Holland 45 

Germany 48 

THE  UNITED  STATES 50 

One-Man  Rooms 60 

Whistler  61 

Twachtman 63 

Tarbell 64 

Redfield 65 

Duveneck 66 

Chase 67 

Hassam 68 

Gari  Melchers 69 

Sargent 70 

Keith 71 

Mathews  and  McComas 72 

General  Collection 72 

THE  GRAPHIC  ARTS— CONCLUSION  ...  87 

APPENDIX  . 95 

Bibliography.  A list  of  helpful  reference  books  and  periodi- 


[ V ] 


LIST  OF  ILLUSTRATIONS 

FACING  PAGE 

Phyllis.  John  W.  Alexander.  {Frontispiece) 

Woman  and  Child:  Rose  Scarf.  Mary  Cassatt 10 

Morning  in  the  Provence.  Henri  Georget 18 

The  Promenade.  Gustave  Pierre 22 

The  Procession.  Ettore  Tito 24 

The  Fortune  Teller.  F.  Luis  Mora 28 

Water  Fall.  Elmer  Schofield 32 

The  Peacemaker.  Ernest  L.  Blumenschein 34 

The  White  Vase.  Hugh  H.  Breckenridge 38 

Winter  in  the  Forest.  Anshelm  Schultsierg 42 

Winter  at  Amsterdam.  Willem  Witsen 46 

In  the  Rhine  Meadows.  Heinrich  Von  Zugel 48 

The  Mirror.  Dennis  Miller  Bunker 52 

The  Coming  of  the  Line  Storm.  Frederick  J.  Waugh  ...  54 

Lavender  and  Old  Ivory.  Lilian  Westcott  Hale 58 

Green  and  Violet:  Portrait  of  Mrs.  E.  Milicent  Cobden. 

James  McNeill  Whistler 62 

The  Dreamer.  Edmund  C.  Tarbell 64 

Whistling  Boy.  Frank  Duveneck 66 

Self  Portrait.  William  Merritt  Chase 68 

Spanish  Courtyard.  John  Singer  Sargent 70 

Oaks  of  the  Monte.  Francis  McComas  72 

Blue  Depths.  William  Ritschel 74 

Floating  Ice:  Early  Morning.  Charles  Rosen 76 

The  Land  of  Heart’s  Desire.  William  Wendt 78 

The  Housemaid.  William  McGregor  Paxton 80 

My  House  in  Winter.  Gharles  Morris  Young 82 

Quarry:  Evening.  Daniel  Garber 84 

Beyond.  Chester  Beach 86 

In  the  Studio.  Ellen  Emmet  Rand 88 

Eucalypti,  Berkeley  Hills.  Eugen  Neuhaus 90 

Floor  Plan,  Palace  of  Fine  Arts 96 


[VI] 


INTRODUCTION 

The  artistic  appeals  of  the  Panama- Pacific 
International  Exposition  through  architecture 
and  the  allied  decorative  arts  are  so  engrossing 
that  one  yields  to  the  call  of  the  independent  Fine 
Arts  only  with  considerable  reluctance.  The  visitor, 
however,  finds  himself  cleverly  tempted  by  numer- 
ous stray  bits  of  detached  sculpture,  effectively 
placed  amidst  shrubbery  near  the  Laguna,  and 
almost  without  knowing  he  is  drawn  into  that 
enchanting  colonnade  which  leads  one  to  the  spa- 
cious portals  of  the  Palace  of  Fine  Arts. 

It  was  a vast  undertaking  to  gather  such 
numbers  of  pictures  together,  but  the  reward  was 
great — not  only  to  have  gratified  one’s  sense  of 
beauty,  but  to  have  contributed  toward  a broader 
civilization,  on  the  Pacific  Coast  specifically,  and 
for  the  world  in  general  besides.  It  must  be  ad- 
mitted that  it  was  no  small  task,  in  the  face  of  many 
very  unusual  adverse  circumstances,  to  bring  to- 
gether here  the  art  of  the  world.  Mr.  John  E.  D. 
Trask  deserves  unstinted  praise  for  the  persever- 
ance with  which,  under  most  trying  circumstances, 
unusual  enough  to  defeat  almost  any  collective 
undertaking,  he  brought  together  this  highly  credit- 
able collection  of  art.  Wartime  conditions  abroad 
and  the  great  distance  to  the  Pacific  Coast,  not  to 
speak  of  difficulties  of  physical  transportation, 
called  for  a singularly  capable  executive,  such  as 
John  E.  D.  Trask  has  proved  himself  to  be,  and 
the  world  should  gratefully  acknowledge  a big  piece 
of  work  well  done.  I do  not  believe  the  art  exhibi- 
tion needs  any  apologies.  Its  general  character  is 

[VII] 


INTRODUCTION 
such  as  fully  to  satisfy  the  standards  of  former 
international  expositions. 

It  seems  only  rational  that,  with  the  notorious 
absence  of  any  important  permanent  exhibition  of 
works  of  art  on  the  Pacific  Coast,  an  effort  should 
have  been  made  to  present  within  the  exhibit  the 
development  of  the  art  of  easel  painting  since  its 
inception,  because  it  seems  impossible  to  do  justice 
to  any  phase  of  art  without  an  opportunity  of  com- 
parison, such  as  the  exposition  affords.  The  retro- 
spective aspects  of  the  exhibition  are  absorbingly 
interesting,  not  so  much  for  the  presentation  of  any 
eminently  great  works  of  art  as  for  the  splendid 
chance  for  first-hand  comparison  of  different  peri- 
ods. Painting  is  relatively  so  new  an  art  that 
the  earliest  paintings  we  know  of  do  not  differ 
materially  in  a technical  sense  from  our  present- 
day  work.  Archaeology  has  disinterred  various 
badly  preserved  and  unpresentable  relics  of  old  arts 
such  as  sculpture  and  architecture.  It  is  little  so 
with  pictures.  Painting  is  really  the  most  recent 
of  all  the  fine  arts.  It  must  seem  almost  unbeliev- 
able that  the  greatest  periods  of  architecture  and 
sculpture  had  become  classic  when  painting  made 
its  d^but  as  an  independent  art.  It  is  true  enough 
that  the  Assyrians  and  Egyptians  used  colour,  but 
not  in  the  sense  of  the  modern  easel  painter.  We 
are  also  informed,  rather  less  than  more  reliably, 
that  a gentleman  by  the  name  of  Apelles,  in  the 
days  of  Phidias,  painted  still-lifes  so  naturally 
that  birds  were  tempted  to  peck  at  them,  and  we 
know  much  more  accurately  of  the  many  delightful 
bits  of  wall-painting  the  rich  man  of  Pompeii  and 
Herculaneum  used  to  have  put  on  his  walls,  but 
the  easel  painting  is  a creation  of  modern  times. 

[ VIII  1 


INTRODUCTION 

The  sole  reason  for  this  can  hardly  be  explained 
better  than  by  pointing  out  the  long-standing  lack 
of  a suitable  medium  which  would  permit  the  mak- 
ing of  finer  paintings,  other  than  wall  and  decora- 
tive paintings.  The  old  tempera  medium  was 
hardly  suited  to  finer  work,  since  it  was  a makeshift 
of  very  inadequate  working  qualities.  Briefly,  the 
method  consisted  of  mixing  any  pigment  or  paint 
in  powder  form  with  any  suitable  sticky  substance 
which  would  make  it  adhere  to  a surface.  Sticky 
substances  frequently  used  were  the  tree  gums 
collected  from  certain  fruit-trees,  including  the  fig 
and  the  cherry.  This  crude  method  is  known  by 
the  word  temperaf*  which  comes  from  the  Latin 
‘‘temperare,”  to  modify  or  mix,  and  denotes 
merely  any  alteration  of  the  original  pigment. 
Tempera  painting,  as  the  only  technique  known, 
was  really  a great  blessing  to  the  world,  since  it 
prevented  the  wholesale  production  in  a short  time 
of  such  vast  quantities  of  pictures  as  the  world 
nowadays  is  asked  to  enjoy.  I am  not  so  sure 
that  the  two  brothers,  the  Flemish  painters  Hubert 
and  Jan  van  Eyck,  who  are  said  to  have  given  us 
the  modern  oil  method,  are  really  so  much  deserving 
of  praise,  since  their  improved  method  of  painting 
with  oils  caused  a production  of  paintings  half  of 
which  might  much  better  have  remained  unpainted. 
The  one  thing  that  can  be  said  of  all  paintings 
made  before  their  day  is  that  they  were  painted  for 
a practical  purpose.  They  had  to  fit  into  certain 
physical  conditions,  architectural  or  other.  Most 
modern  paintings  are  simply  painted  on  a 
gambler  s chance  of  finding  suitable  surroundings 
afterwards.  Nowadays  a picture  is  produced  with 
the  one  idea  of  separating  it  from  the  rest  of  the 

[IX] 


INTRODUCTION 
world  by  a more  or  less  hideous  gold  frame,  the 
design  of  which  in  many  cases  is  out  of  all  relation 
to  the  picture  as  well  as  to  the  wall.  In  fact,  most 
frames  impress  one  as  nothing  hut  attempts  to 
make  them  as  costly  as  possible. 

I imagine  that  practically  all  true  painters 
would  rather  do  their  pictures  under  and  for  a 
given  physical  condition,  to  support  and  be  sup- 
ported by  architecture;  but  with  the  unfortunate 
present-day  elimination  of  paintings  from  most 
architectural  problems,  most  artists  have  to  paint 
their  pictures  for  an  imaginary  condition.  The 
present  production  of  paintings  has  become  abso- 
lutely unmindful  of  the  true  function  of  a painting, 
which  is  to  decorate  in  collaboration  with  the  other 
arts — architecture  and  sculpture. 

It  is  necessary  to  hear  these  facts  in  mind  in 
trying  to  do  justice  to  a large  aggregate  of  canvases 
in  an  international  exhibition,  or  any  exhibition. 
Thousands  of  pictures,  created  by  a host  of  different 
artists,  are  temporarily  thrown  together.  The 
result,  of  course,  can  never  be  entirely  satisfying. 
Many  devices  are  employed  to  overcome  this  very 
disturbing  condition  and  with  varying  success. 
The  hanging  of  pictures  against  neutral  back- 
grounds, the  grouping  of  works  of  one  man,  the 
selection  of  works  of  similar  tonality,  colour 
schemes,  technique,  subject,  style,  etc.— these  are 
all  well  known  methods  of  trying  to  overcome  the 
essential  artificiality  of  the  methods  of  exhibition 
of  modern  paintings.  I doubt  whether  so  long  as 
we  insist  upon  art  exhibitions  of  the  conventionally 
accepted  type,  we  shall  ever  be  able  to  present 
pictures  with  due  regard  to  their  meaning.  JVe 
must  not  make  the  mistake  of  blaming  a director  of 
[X] 


INTRODUCTION 

an  exhibition  for  a difficulty  which  he  cannot  pos- 
sibly overcome.  So  long  as  painters  turn  out 
thousands  of  pictures,  we  can  expect  only  the  results 
which  are  much  in  evidence  in  all  modern  exhibi- 
tions. The  fault  is  entirely  with  the  artist,  who  is 
forever  painting  easel  pictures,  and  neglecting  the 
great  field  of  decorative  painting.  On  investiga- 
tion of  our  exhibition  we  shall  find  that  the  good 
picture -that  is,  the  picture  of  a certain  respectful 
attitude  toward  its  function,  which  is  largely 
decorative-is  far  less  injured  by  unavoidable 
neighbors  than  the  loud-mouthed  canvas  of  the 
^‘Look!  Here  I amT'  variety,  which  is  afraid  of 
being  overlooked.  Art  exhibitions  of  the  generally 
adopted  modern  type  are  logically  intolerable,  and 
the  only  solution  of  the  problem  of  the  correct  pres- 
entation of  pictures  is  to  display  fewer  of  them, 
within  certain  individual  rooms,  designed  by  artists, 
where  a few  pictures  will  take  their  place  with 
their  surroundings  in  a unity  of  artistic  expression. 

It  is  certainly  no  small  task  to  enjoy  a large 
exhibit  like  ours  and  to  preserve  one’s  peace  of 
mind.  The  purpose  of  these  pages  is  to  assist  in 
guiding  the  uninitiated,  in  his  visit  and  in  retro- 
spect, without  depriving  him  of  the  pleasure  of 
personal  observation  and  investigation.  It  is  not 
to  be  expected  that  all  pictures  exhibited  should  be 
of  a superior  kind.  If  so,  we  should  never  be  able 
to  learn  to  recognize  the  good  among  the  bad.  So 
many  pictures  are  only  experiments.  Only  by 
having  the  opportunity  for  comparison  can  we 
learn  to  discriminate . The  predominant  charac- 
teristic of  our  art  exhibition  is  its  instructive  value 
in  teaching  the  development  of  painting  by  succes- 
sive periods,  sometimes  represented  and  some- 

[XI] 


INTRODUCTIO^N 
times  only  indicated.  The  person  who  never  had 
the  opportunity  to  visit  the  larger  historical  collec- 
tions of  paintings  abroad,  could  here  obtain  an 
idea  of  the  many  changes  in  subjects,  as  well  as  in 
technique,  which  have  taken  place  in  the  relatively 
short  existence  of  the  art  of  painting.  It  is  un- 
fortunately true  that  the  majority  of  people  are  not 
at  all  interested  in  the  technical  procedure  of  the 
making  of  the  picture,  but  wholly  in  the  subject 
matter.  If  this  be  pleasing,  the  picture  is  apt  to 
be  declared  a success.  The  artist,  on  the  other 
hand,  and  to  my  mind  very  justly,  looks  primarily 
for  what  he  calls  good  painting,  and  a simple 
statement  of  these  two  points  of  view  explains  a 
great  deal  of  very  deplorable  friction  between  the 
artist  and  the  willing  and  enthusiastic  layman,  who 
is  constantly  discouraged  by  finding  that  his  artist 
friend  greets  his  pet  canvas  with  a cynical  smile. 

The  subject  of  the  appreciation  of  pictures  from 
a theoretical  point  of  view  is  not  exactly  the  purpose 
of  this  book.  So  enormous  is  it  that  it  could  be 
dealt  with  adequately  only  in  a separate  volume — 
the  writing  of  which  I look  forward  to  with  joyful 
anticipation.  What  I should  like  to  do — and  I 
should  be  very  glad  if  I could  succeed — is  to  bring 
the  public  a little  closer  to  the  artist's  point  of  view 
through  the  discussion  of  the  merit  of  certain 
notable  works  of  art.  It  is  my  conviction  that  it  is 
the  manifestations  of  an  artistic  conscience  which 
make  exhibitions  good,  and  not  the  question 
whether  the  public  likes  certain  pictures  or  not. 
Only  by  constant  study,  a serious  attitude,  and  a 
willingness  to  follow  the  artist  into  his  realm  can 
the  public  hope  fully  to  enjoy  the  meaning  of  the 
artist's  endeavors. 

[XII] 


The  GALLERIES  EXPOSITION 


RETROSPECTIVE  ART 


IT  WOULD  seem  only  logical  to  begin  our  in- 
vestigation with  the  pictures  chronologically 
oldest,  at  the  same  time  recognizing  that  Euro- 
pean art  has  the  right  to  first  consideration.  We 
are  the  hosts  to  the  art  of  the  world.  Our  own 
art  is  the  newest,  and  yet  occupies  a large  num- 
ber of  galleries  most  conspicuously,  but  it  will 
not  lose  by  waiting  for  attention  till  the  end. 

Gallery  63.  Some  of  the  very  earliest 
paintings  in  the  exhibition  are  found  in  one  of 
the  large  center  rooms  on  the  left,  where  a very 
stately  Tiepolo  controls  the  artistic  atmosphere 
of  a large  gallery.  This  picture  has  all  the 
qualities  of  an  old  Italian  master  of  the  best 
kind.  Its  composition  is  big  and  dignified  and 
in  the  interest  and  richness  of  its  color  scheme 
it  has  here  few  equals.  The  chief  characteristic 
of  this  splendid  canvas  is  bigness  of  style.  In 
its  treatment  it  is  a typical  old  master,  in  the 
best  meaning  of  the  term. 

On  the  left  of  this  Tiepolo,  a rather  sombre 
canvas  by  Ribera  claims  attention  by  the 
peculiar  lighting  scheme,  so  typical  of  this 
Italian  master.  While  there  is  what  we  might 
call  a quality  of  flood  lighting  in  the  Tiepolo, 
giving  an  envelope  of  warm,  mellow  light  to  the 
whole  picture,  Ribera  concentrates  his  light 
somewhat  theatrically  upon  his  subjects,  as  in 

[3] 


RETROSPECTIVE  ART 
the  St.  Jerome.  The  picture  is  freely  painted, 
with  the  very  convincing -anatomical  skill  that 
is  manifest  in  most  of  Ribera’s  work.  His  shad- 
ows are  sometimes  black  and  impenetrable,  a 
quality  which  his  pictures  may  not  have  had 
at  the  time  of  their  production,  and  which  may 
be  partly  the  result  of  age.  The  Goya  on  the 
same  wall  is  uninteresting — one  of  those  poor 
Goyas  which  has  caused  delay  in  the  just  plac- 
ing of  this  great  Spaniard  in  the  history  of  art. 

The  Turner  below  the  Goya  has  all  the 
imaginative  qualities  of  that  great  Englishman’s 
best  work.  Venice  may  never  look  the  way 
Turner  painted  it,  but  his  interpretation  of  a 
gorgeous  sunset  over  a canal  is  surely  fasci- 
nating enough  in  its  suggestion  of  wealth  of 
form  and  color.  Sir  William  Beechey’s  large 
canvas  of  a group  of  children  and  a dog  probably 
presented  no  easy  task  to  the  painter.  The 
attempt  at  a skilful  and  agreeable  arrangement 
of  children  in  pictures  is  often  artificial,  and  so 
it  is  to  my  mind  in  this  canvas.  Nevertheless 
the  colouring,  together  with  the  spontaneous 
technique,  put  it  high  above  many  canvases  of 
similar  type.  The  Spanish  painting  on  the 
right  of  the  Beechey  could  well  afford  to  have 
attached  to  it  the  name  of  one  of  the  best  artists 
of  any  school.  The  unknown  painter  of  this 
Spanish  gentleman  knew  how  to  disclose  the 
psychology  of  his  sitter  in  a straightforward  way 
that  would  have  done  honor  to  Velasquez,  or  to 
Frans  Hals,  of  whom  this  picture  is  even  more 
suggestive. 

Below  this  very  fine  portrait  Sir  Godfrey 
Kneller  is  represented  by  a canvas  very  typical 
[4] 


RETROSPECTIVE  ART 

of  the  eighteenth  century  English  portrait 
painters.  The  canvas  has  a little  of  the  char- 
acter of  everybody,  without  being  sufficiently 
individual.  Reynolds’  “Lady  Ballington”  has 
a wonderful  quality  of  repose  and  serenity,  one 
of  the  chief  merits  of  the  work  of  all  those  great 
English  portrait  painters  of  the  eighteenth  cen- 
tury. No  matter  whose  work  it  is,  whether  of 
Reynolds,  Romney,  Hoppner,  or  any  of  that 
classic  period  of  the  painters  of  distinguished 
people,  they  always  impress  by  the  dignity  of 
their  composition  and  colour.  We  do  not  know 
in  all  cases  how  distinguished  their  sitters  really 
were,  but  like  Reynolds’  “Lady  Ballington,” 
they  must  often  have  been  of  a sort  superior 
physically  as  well  as  intellectually. 

Above  the  Reynolds  a small  Gainsborough 
landscape  blends  well  with  the  predominant 
brown  of  these  old  canvases.  From  the  point 
of  view  of  the  modern  landscape  painter,  who 
believes  in  the  superiority  of  his  outlook  and 
attitude  toward  nature,  we  can  only  be  glad 
that  Gainsborough’s  fame  does  not  depend  upon 
his  representation  of  out-of-doors.  This  small 
canvas,  like  the  very  big  one  on  the  opposite 
wall,  is  interesting  in  design.  But  neither  gives 
one  the  feeling  of  outdoors  that  our  modern 
landscape  painters  so  successfully  impart.  His- 
torically they  are  very  interesting,  and  even 
though  they  carry  the  name  of  such  a master 
of  portraits  as  Gainsborough  undoubtedly  was, 
they  are  devoid  of  all  the  refreshing  qualities 
that  modern  art  has  given  to  the  world. 

Sir  Peter  Lely  and  Sir  Henry  Raeburn  claim 
particular  attention  on  the  north  wall — the 

[5] 


RETROSPECTIVE  ART 
first  by  a deftly  painted  portrait  of  a lady, 
and  the  other  by  a broadly  executed  likeness 
of  John  Wauchope.  As  portraits  go,  the  first 
picture  is  one  of  the  finest  in  the  gallery. 
Very  conspicuous  by  their  size,  the  two  big 
Reynolds  portraits  on  the  east  wall  are  not  in 
the  same  class  with  either  the  Lawrence  or  the 
Gainsborough  on  the  same  wall.  The  great 
Lawrence  portrait,  the  lady  with  the  black  hat, 
is  one  of  the  most  superb  portraits  in  the  world. 
There  is  a peculiar  charm  about  this  canvas 
quite  independent  of  the  very  attractive  Lady 
Margaret  represented  in  the  picture.  The  lus- 
cious blacks  and  pale  reds  and  the  neutral  cream 
silk  cape  make  for  a colour  harmony  seldom 
achieved.  Reynolds’  portrait  of  John  Thomas, 
Bishop  of  Rochester,  is  equally  rich  and  full  of 
fine  colour  contrasts.  The  shrewd-looking  gen- 
tleman is  psychologically  well  given,  although 
one’s  attention  is  detracted  from  the  head  by 
the  gorgeous  raiment  of  a dignitary  of  the  church. 

I think  Hogarth’s  portrait  on  the  small  wall 
to  the  right  does  not  disclose  this  master  at  his 
best,  nor  does  Hoppner  rise  to  the  level  of  his 
best  work  in  the  large  portrait  alongside  of  it. 
The  Marchioness  of  Wellesley  is  better  and 
more  sympathetically  rendered  than  her  two 
children,  who  barely  manage  to  stay  in  the 
picture. 

On  the  whole  an  atmosphere  of  dignity  per- 
meates this  gallery  of  older  masters.  One  may 
deplore  the  lack  of  many  characteristics  of 
modern  art  in  many  of  the  old  pictures.  They 
are  very  often  lifeless  and  stiff,  but  the  worst 
of  them  are  far  more  agreeable  than  most  of 
[6] 


RETROSPECTIVE  ART 

those  of  our  own  time.  The  serene  beauty  of 
the  Tiepolo,  the  Lawrence,  and  the  Gains- 
borough portrait  has  hardly  been  surpassed 
since  their  day.  Our  age  is,  of  course,  the  age 
of  the  landscape  painter,  the  outdoor  painter, 
as  opposed  to  the  indoor  portraits  of  these  great 
masters.  It  would  not  be  right  to  judge  a 
Gainsborough  by  his  landscapes  any  more  than 
it  would  be  to  judge  a modern  landscape  painter 
.by  his  portraits.  But  no  matter  how  uninter- 
esting these  old  landscapes  are,  their  brown 
tonality  insures  them  a certain  dignity  of  inof- 
fensiveness which  a mediocre  modern  work  of 
art  never  possesses.  I would  rather  any  time 
have  a bad  old  picture  than  a bad  one  of  the 
very  recent  schools.  Modesty  is  not  one  of  the 
chief  attributes  of  modern  art,  and  the  silent 
protest  of  a gallery  such  as  the  one  we  are  now 
in,  the  artist  can  well  afford  to  heed. 

The  sculpture  in  this  gallery  has  no  relation 
to  the  historical  character  of  the  room,  but  fits 
well  into  the  atmosphere.  Adolph  A.  Wein- 
man’s admirable  “Descending  Night”  is  so 
familiar  to  all  Exposition  visitors,  in  its  adap- 
tation in  a fine  fountain  in  the  Court  of  the 
Universe,  that  no  more  reference  need  be  made 
to  it.  Here  in  bronze  on  a small  scale,  it  is 
even  more  refined.  Mrs.  Saint  Gaudens’  charm- 
ing family  group,  in  burnt  clay,  is  not  so  well 
in  harmony  with  this  gallery  of  older  work,  but 
infinitely  more  appealing  than  J.  Q.  A.  Ward’s 
“Hunter”  or  Cyrus  Dallin’s  “Indian”.  Both  of 
these  groups  lack  suggestive  quality.  They  are 
carried  too  far.  Edward  Kemeys’  “Buffaloes” 
lack  a sense  of  balance.  The  defeated  buffalo, 

[7] 


RETROSPECTIVE  ART 
pushed  over  the  cliff,  takes  the  interest  of  the 
observer  outside  of  the  center  of  the  compo- 
sition, and  a lack  of  balance  is  noticeable  in  this 
otherwise  well  modelled  group. 

Gallery  91.  In  this  room  one  is  carried 
farther  back  into  the  earlier  phases  of  painting 
by  a Luini  of  pronounced  decorative  quality. 
The  picture  is  probably  a part  of  a larger  scheme, 
but  it  is  well  composed  into  the  frame  which 
holds  it.  Besides,  it  is  of  interest  as  the  only 
piece  of  old  mural  painting  included  in  the 
exhibition.  The  ground  on  which  the  angel  is 
painted  is  a piece  of  the  plaster  surface  of  the 
original  wall  of  which  this  fragment  was  a part. 
The  method  of  producing  these  fresco  paintings 
{alfresco  calco)  necessitated  the  employment  of 
a practical  plasterer  besides  the  painter.  The 
painting  was  first  drawn  carefully  on  paper  and 
then  transferred  in  its  outlines  upon  freshly 
prepared  plaster,  just  put  upon  the  wall.  Hav- 
ing no  other  means  of  making  the  paint  adhere 
to  the  surface,  the  painter  had  to  rely  upon  the 
chemical  reaction  of  the  plaster,  which  would 
eventually  unify  the  paint  with  itself.  It  was 
a very  tedious  process,  which  nowadays  has 
been  superseded  by  the  method  of  painting  on 
canvas,  which  after  completion  in  the  studio  is 
fastened  to  the  wall.  Above  the  Luini  hangs 
a very  Byzantine  looking  Timoteo  Viti  “Ma- 
donna” of  interesting  colour  and  good  design,  but 
with  a Christ  child  of  very  doubtful  anatomy,  and 
also  two  old  sixteenth  century  Dutch  pictures — 
a Jan  Steen  and  a Teniers.  I have  my  doubts 
as  to  the  authenticity  of  the  last  two  pictures. 
They  are  both  interesting  as  disclosing  the  fond- 
[8] 


RETROSPECTIVE  ART 

ness  of  the  Dutch  painters  of  the  sixteenth 
century  for  over-naturalistic  subjects. 

On  wall  B two  pictures,  without  author  or 
title,  appeal  to  one’s  imagination.  They  are 
both  well  painted  and  rich  in  colour.  A certain 
big  decorative  quality  puts  them  far  above  their 
neighbor — -a  Dutch  canvas  of  bad  composition 
with  no  redeeming  features  other  than  historical 
interest.  Jacopo  da  Ponte’s  big  “Lazarus”  has 
a certain  noble  dignity.  Though  it  is  rather 
black  in  shadows,  it  is  not  devoid  of  colour 
feeling.  On  either  side  are  two  old  Spanish 
portraits  of  children  of  royalty.  They  impress 
by  their  very  fine  decorative  note,  charmingly 
enhanced  by  the  wonderful  frames.  Another 
Ribera,  as  forceful  as  the  one  mentioned 
before,  easily  stands  out  among  the  many 
pictures  in  this  gallery,  most  of  which  are  only 
of  historical  interest.  The  whole  aspect  of  this 
little  gallery  is  one  of  extreme  remoteness  from 
modern  thought  and  idea,  but  as  an  object  lesson 
of  certain  older  periods  it  is  invaluable. 

Gallery  92.  Chronologically  a typical  old 
Charles  Le  Brun  presides  over  a very  inter- 
esting lot  of  pictures,  mostly  French.  This 
academic  canvas,  of  Darius’  family  at  the  feet 
of  Alexander,  has  not  the  simplicity  and  deco- 
rative quality  of  the  Italian  pictures  of  that 
period,  and  it  is  entirely  too  complex  to  be 
enjoyable.  The  beautiful  Courbet  on  the  left, 
while  suggestive  of  Ribera  in  its  severe  disposal 
of  light  and  shadow,  has  also  a quality  of  its 
own,  a wonderful  mellowness  which  gives  it  a 
unity  of  expression  lacking  in  its  turbulent 
neighbor  on  the  right. 


[9] 


RETROSPECTIVE  ART 

Among  the  other  bigger  pictures  in  this  small 
gallery,  a very  poetic  Cazin,  “The  Repentance  of 
Simon  Peter,”  commands  attention  by  a certain 
outdoor  quality  which  faintly  suggests  the 
Barbizon  school.  One  does  not  know  what  to 
admire  most  in  this  fine  canvas.  As  a figural 
picture  it  is  intensely  beautiful,  and  merely  as 
a landscape  it  is  of  convincing  charm.  It  is  to 
my  mind  one  of  the  finest  paintings  in  the 
exhibition,  and  a constant  source  of  great 
pleasure. 

The  big  Tissot  offers  few  excuses  for  having 
been  painted  at  all.  It  is  nothing  but  a big 
illustration — all  it  tells  could  have  been  said  on 
a very  small  canvas.  There  is  no  real  painting 
in  it,  nor  composition — nothing  else,  for  that 
matter.  The  two  Monticellis  on  the  same  wall 
make  up  for  the  Tissot.  Rich  in  colour  and 
design,  the  one  to  the  left  is  particularly  fine. 
The  Van  Marcke  on  the  same  wall  is  typical  of 
this  painter’s  methods,  but  does  not  disclose 
his  talent  for  very  interesting  pictorial  compo- 
sitions, for  which  he  was  known. 

On  the  opposite  wall  an  older  Israels  gives 
one  a good  idea  of  the  earlier  period  of  this  great 
Dutch  painter,  justly  counted  as  one  of  the 
great  figures  of  the  second  half  of  the  last 
century.  While  of  recent  date,  his  art  belongs 
to  the  older  school — ^wdthout  attaching  any 
odium  to  that  classification.  The  Barbizon 
school,  the  most  important  of  the  last  century, 
is  very  fitly  represented  by  two  charming  and 
most  delicate  Corots  on  either  side  of  the 
Israels.  The  one  to  the  right  is  particularly 
tender  and  poetic.  While  by  no  means  an 

[10] 


“WOMAN  AND  CHILD:  ROSE  SCARF” 


FROM  THE  OIL  PAINTING,  BY  MARY  CASSATT 
GALLERY  65 


I 

■< 

1 

■ 

"1 

'n 


RETROSPECTIVE-  ART 

attempt  at  a naturalistic  impressionistic  inter- 
pretation of  nature,  like  a modern  Metcalf,  for 
instance,  their  suggestive  power  is  so  great  as 
to  overcome  a certain  lack  of  colour  by  the 
convincingness  of  the  mood  represented.  Dau- 
bigny and  Rousseau,  of  that  great  company  of 
the  school  of  1825,  are  merely  suggested  in  two 
small  and  very  conscientious  studies. 

Gallery  62.  This  will  always  be  remem- 
bered as  the  gallery  of  the  “Green  Madonna”. 
Whatever  caused  this  “Green  Madonna”  to  be 
honored  by  a Grand  Prix  at  Paris  will  always 
remain  one  of  those  mysteries  with  which  the 
world  is  laden.  Of  all  disagreeable  colour 
schemes,  it  is  certainly  one  of  the  least  appealing 
ever  put  upon  a canvas.  It  is  hardly  a scheme  at 
all,  since  I do  not  believe  the  juxtaposition  of 
so  many  different  slimy  greens,  nowhere  prop- 
erly relieved  nor  accentuated  by  a complemen- 
tary red,  can  ever  be  called  a scheme.  Tech- 
nically speaking,  the  canvas  is  well  painted,  but 
it  is  hardly  worthy  of  the  attention  its  size  and 
subject  win.  Dagnan-Bouveret  has  rendered 
good  service  as  a teacher  and  also  as  a painter 
of  animal  life,  but  in  this  canvas  he  surely  is 
not  up  to  his  best. 

The  Barbizon  men  continue  to  hold  one’s 
attention  by  a splendid  Troyon.  It  is  one  of 
the  best  of  his  canvases  I have  ever  seen.  The 
little  Diaz  alongside  of  it  is  also  typical  of  this 
very  luminous  painter,  who  often  attains  a 
lusciousness  of  colour  in  his  work  not  reached 
by  any  other  of  the  Barbizon  men. 

Fortuny,  in  an  Algiers  picture,  shows  the 
same  brilliant  technical  quality  which  is  so 

[11] 


RETROSPECTIVE  ART 
much  in  evidence  in  a small  watercolor  in  the 
preceding  gallery.  Jules  Bastien-Lepage’s  stu- 
dio nude  seems  very  unhappily  placed  in  a 
naturalistic  background  into  which  it  does  not 
fit,  and  Cazin’s  big  canvas,  while  very  dignified, 
hardly  comes  up  to  the  level  of  his  repenting 
“Simon  Peter”,  in  the  other  gallery.  Pelouse’s 
landscape,  of  singularly  beautiful  composition 
and  colour,  should  not  be  overlooked.  It  is 
alongside  the  Cazin. 

While  almost  all  the  pictures  referred  to  so 
far  are  of  the  French  school,  there  are  three 
pictures  of  the  older  German  school — two  Len- 
bachs,  one  a very  accurately  drawn  portrait  of 
the  German  philosopher  Mommsen,  and  the 
other  a portrait  of  himself.  They  show  this 
powerful  artist  in  two  different  aspects.  While 
the  Mommsen  is  one  of  his  later,  broader  pic- 
tures, the  portrait  of  himself  is  of  an  earlier 
date,  showing  the  artist  as  the  serious  student 
he  has  always  been.  Adolph  Schreyer,  another 
German,  with  his  Bedouin  pictures,  was  the  pet 
of  the  art  lovers  in  his  day,  and  pictures  like 
this  can  be  found  in  almost  every  collection  in 
the  world. 

The  miscellaneous  sculpture  in  this  gallery 
is  full  of  interest  and  gives  one  a good  suggestion 
of  the  great  mass  of  small  modern  sculpture 
found  throughout  the  galleries.  Mora’s  Indian 
figures  are  particularly  interesting  from  their 
originality  of  theme.  Mora  tries  hard  to  be 
unconventional,  without  going  into  the  bizarre, 
and  succeeds  very  well. 

Gallery  61.  The  difference  of  appearance 
in  the  four  older  galleries  discussed  and  the  one 
[12] 


RETROSPECTIVE  ART 

now  visited  is  so  marked  as  to  lead  one  to 
believe  that  our  investigations  have  not  been 
conducted  in  the  proper  chronological  order. 
All  the  art  of  the  world,  up  to  and  including  the 
Barbizon  school,  is  characterized  by  a predomi- 
nant brown  colour  which,  on  account  of  its 
warmth,  is  never  disagreeable,  although  some- 
times monotonous.  The  daring  of  the  English- 
man Constable  in  painting  a landscape  outdoors 
led  to  the  development  of  a new  point  of  view, 
which  the  older  artists  did  not  welcome.  Con- 
stable and  the  men  of  the  Barbizon  school 
realized  for  the  first  time  that  outdoor  con- 
ditions were  totally  different  from  the  studio 
atmosphere,  and  while  the  work  of  such  men  as 
Corot,  Millet,  Daubigny,  Rousseau,  and  Diaz 
is  only  slightly  removed  from  the  somber  brown 
of  the  studio  type,  it  recognizes  a new  aspect  of 
things  which  was  to  be  much  farther  developed 
than  they  ever  dreamed.  Just  as  Constable 
shocked  his  contemporaries  by  his — for  that 
time — vivid  outdoor  blues  and  greens,  so  the 
men  of  the  school  of  1870,  or  the  impressionists, 
surprised  and  outraged  their  fellowmen  with  a 
type  of  picture  which  we  see  in  control  of  this 
delightfully  refreshing  gallery.  We  can  testify 
by  this  time  that  Constable,  although  much 
opposed  in  his  day,  seems  very  tame  to  us 
today,  and  caution  seems  well  advised  before 
a final  judgment  of  impressionism  is  passed. 
The  slogan  of  this  gallery  seems  to  be,  “More 
light  and  plenty  of  it!”  The  Monet  wall  gives 
a very  good  idea  of  the  impressionistic  school, 
in  seven  different  canvases  ranging  from  earlier 
more  conventional  examples  to  some  of  his 

[13] 


RETROSPECTIVE  ART 
latest  efiforts.  One  more  fully  understands  the 
goal  that  these  men,  like  Monet,  Renoir,  Sisley, 
Pissarro,  and  others  in  this  gallery  were  striving 
for  when,  in  an  apparently  radical  way,  they 
discarded  the  attitude  of  their  predecessors,  in 
their  search  for  light.  It  is  true  they  encoun- 
tered technical  difficulties  which  forced  them 
into  an  opacity  of  painting  which  is  absolutely 
opposed  to  the  smooth,  sometimes  licked  appear- 
ance of  the  old  masters.  Many  of  these  men 
must  be  viewed  as  great  experimenters,  who 
opened  up  new  avenues  without  being  entirely 
able  to  realize  themselves.  They  are  collec- 
tively known  generally  as  impressionists,  though 
the  word  “plein-airist” — luminist  — has  been 
chosen  sometimes  by  them  and  by  their  admir- 
ers. The  neo-impressionists  in  pictorial  prin- 
ciple do  not  differ  from  the  impressionist.  Their 
technical  procedure  is  different,  and  based  on 
an  optical  law  which  proves  that  pure  primary 
colours,  put  alongside  of  each  other  in  alter- 
nating small  quantities,  will  give,  at  a certain 
distance,  a freshness  and  sparkle  of  atmosphere 
not  attained  by  the  earlier  technical  methods 
of  the  impressionistic  school,  which  does  not  in 
the  putting  on  of  the  paint  differ  from  the  old 
school.  Besides,  this  use  of  pure  paint  enabled 
them  to  have  the  mixing  of  the  paint,  so  to 
speak,  done  on  the  canvas,  as  the  various  pri- 
mary colours  juxtaposed  would  produce  any 
desired  number  of  secondary  and  tertiary  col- 
ours without  loss  of  freshness.  In  other  words 
a green  would  be  produced,  not  by  mixing 
yellow  and  blue  on  the  palette,  but  by  putting 
a yellow  dot  and  a blue  dot  alongside  of  each 
[14] 


RETROSPECTIVE  ART 

Other,  and  so  ad  infinitum.  According  to  the 
form  of  their  colour  dots  they  were  called 
pointillisteSy  poiristes,  and  other  more  or  less  self- 
explanatory  names.  The  service  of  these  men 
to  art  can  never  be  estimated  too  highly.  The 
modern  school  of  landscape  painting  particu- 
larly, and  other  art  involving  indoor  subjects, 
are  based  entirely  on  the  principles  Monet 
discovered  to  the  profession. 

Pissarro,  on  either  end  of  the  wall  opposite 
the  Monet,  appeals  more  in  the  new  method  of 
the  neo-impressionists  than  Monet,  by  reason 
of  much  more  interesting  subjects.  The  one 
Pissarro  on  the  right  is  of  the  first  order  from 
every  point  of  view,  demonstrating  the  superi- 
ority of  the  neo-impressionistic  style  applied  to 
a very  original  and  interesting  subject.  “The 
River  Seine,”  by  Sisley,  is  also  wonderfully  typi- 
cal of  this  new  style,  while  of  the  two  Renoirs, 
only  the  still-life  can  really  be  called  successful. 
There  is  an  unfortunate  fuzziness  in  his  land- 
scape which  defeats  all  effect  of  difference  of 
texture  in  the  various  objects  of  which  this 
picture  is  composed. 

There  are  a number  of  canvases  in  this 
gallery  which  have  nothing  to  do  with  the 
predominating  impressionistic  character  of  the 
gallery.  The  Puvis  de  Chavannes  gives  one  a 
very  fine  idea  of  the  idealistic  outlook  of  this 
greatest  of  all  modern  decorators.  His  art  is 
so  genuinely  decorative  that  to  see  one  of  his 
pictures  in  a frame  seems  almost  pathetic, 
when  we  think  how  infinitely  more  beautiful  it 
would  look  as  part  of  a wall.  Eugene  Carriere 
is  very  well  represented  by  a stately  portrait  of 

[15] 


RETROSPECTIVE  ART 
a lady  with  a small  dog.  Carriere’s  mellow 
richness  is  entirely  his  own  and  rarely  met  with 
in  any  other  artist’s  work. 

On  the  west  wall  opposite  the  Puvis  four 
very  different  canvases  deserve  to  be  mentioned. 
In  the  center  a young  Russian,  Nicholas  Fechin, 
displays  a very  unusual  virtuosity  in  a picture 
of  a somewhat  sensual-looking  young  creature. 
Aside  from  the  fascination  of  this  young  human 
animal,  the  handling  of  paint  in  this  canvas  is 
most  extraordinary,  possessing  a technical 
quality  few  other  canvases  in  the  entire  exhi- 
bition have.  There  is  life,  such  as  very  few 
painters  ever  attain,  and  seen  only  in  the  work 
of  a master.  This  work  is  not  entirely  a Nell 
Brinkley  in  oil,  either.  I confess  I have  a 
strange  fondness  for  this  weird  canvas. 

The  international  character  of  this  gallery 
is  most  pronounced.  Directly  above  the  Fechin, 
Frits  Thaulow,  the  Norwegian,  justifies  his 
reputation  as  the  painter  of  flowing  water  in 
a picture  of  great  beauty.  Gaston  La  Touche 
faintly  discloses  in  a large  canvas  his  imagi- 
native style,  carried  so  much  farther  in  his  later 
work.  Joseph  Bail,  the  Frenchman,  got  into 
this  gallery  probably  only  on  the  basis  of  size, 
to  balance  the  La  Touche  on  the  other  side.  To 
all  appearances  Bail  has  very  little  in  common 
with  the  general  modern  character  of  this 
gallery.  Nevertheless  his  canvas  has  merit  in 
many  ways. 


[16] 


FOREIGN  NATIONS 


FRANCE 

A DISCUSSION  of  the  impressionistic  school 
makes  it  almost  imperative  to  continue  our 
investigation  by  way  of  the  French  Section. 
France  is  easily  to  modern  art  what  Italy 
was  to  the  art  of  the  Renaissance  or  Greece  to 
antiquity.  Almost  all  countries,  with  the  excep- 
tion of  those  of  northern  Europe,  have  gone 
to  school  at  Paris.  It  becomes  quite  evident  at 
first  glance  that  a certain  very  desirable  spacious- 
ness in  the  hanging  of  the  pictures  contributes 
much  toward  the  generally  favorable  impression 
of  this  section  of  the  exhibition,  though  it  is  hard 
to  understand  why  this  fine  effect  should  have 
been  spoiled  by  the  pattern  used  on  the  wall- 
covering. It  seems  unbelievable  that  a people 
like  the  French  should  so  violate  a fundamental 
principle,  which  a first-semester  art  student 
would  scarcely  do.  The  otherwise  delightful 
impression  of  the  French  section,  so  excellently 
arranged,  is  considerably  impaired  by  this  faux 
pas.  There  is  no  chronological  succession  in 
evidence  in  the  hanging  of  pictures  in  the  six 
galleries  of  this  section,  and  old  and  new,  con- 
servative and  radical,  are  hung  together  with  no 
other  consideration  than  harmonious  ensemble. 

Gallery  18.  In  the  western  end  of  the 
section  presided  over  by  a decorative  painting  of 
some  aras  among  orange  trees  (over  the  west 

[17] 


THE  FOREIGN  NATIONS 
door),  a beautiful,  almost  classic  canvas  by 
Henri  Georget  commands  immediate  attention. 
The  poetic  idealism  of  this  decorative  landscape, 
together  with  a fine  joyousness,  give  it  unusual 
character.  Alongside  of  it  a very  intelligently 
painted  little  canvas  by  Albert  Guillaume  shows 
the  interior  of  an  art  dealer’s  shop.  The  agent 
is  making  Herculean  efforts  to  bamboozle  an 
unsuspecting  parvenu  into  buying  an  example  of 
some  very  “advanced”  painting.  The  canvas  is 
fine  persiflage  in  its  clever  psychological  charac- 
terization of  the  sleek  dealer  and  the  stupid 
helplessness  of  the  bloated  customer  and  his 
wife,  who  seem  hypnotized  by  the  wicked  eye  in 
the  picture.  As  a piece  of  modern  genre  in  a 
much  neglected  field,  it  is  one  of  the  finest 
things  of  recent  years.  On  the  extreme  left  of 
this  wall  a very  fine  bit  of  painting  of  an  Arabian 
fairy  tale  by  E.  Dinet  deserves  to  be  mentioned. 

Almost  opposite  this  small  canvas  Lucien 
Simon  has  a large  picture  painted  with  the  bra- 
vura for  which  he  is  famous.  The  atmosphere 
of  this  fine  interior  is  simply  and  spontaneously 
achieved,  and  the  three  figures  of  mother,  nurse 
and  balky  baby  are  excellently  drawn.  The 
still-life  by  Moride,  to  the  left  of  this  picture, 
shows  all  the  earmarks  of  the  modern  school 
without  sacrificing  a certain  delicacy  of  handling 
which  is  often  considered  by  many  modern 
painters  a confession  of  weakness.  A fine  Dutch 
canvas  on  the  extreme  left  of  this  wall,  by  Guil- 
laume-Roger,  attracts  by  a fine  decorative  note 
seldom  found  in  pictures  of  French  easel  painters. 

The  east  wall  of  this  gallery  is  distinguished 
by  a number  of  fine  landscapes  by  different 
[18] 


H . 

r 2 5 i 550 
" o 5 H O S 
S 2 n S < 2 

z^- 

So  2 2 Z _ 
2 r o 5 


THE  FOREIGN  NATIONS 
men.  Beginning  on  the  left  side  of  the  door 
Jules-Emile  Zingg  presents  two  tonally  skillful 
winter  landscapes  of  great  fidelity,  while  on  the 
right  is  Henry  Grosjean’s  delicate  atmospheric 
study  of  a broad  valley  floor.  A decorative 
watercolour  of  the  Versailles  Gardens,  by  Mile. 
Carpentier,  commands  admiration  by  reason  of 
its  fine  composition  as  well  as  by  the  economical 
but  effective  technique  of  putting  transparent 
paint  over  a charcoal  drawing.  The  sculpture 
in  this  gallery  is  of  no  great  moment.  Like 
much  of  the  modern  French  sculpture  it  is  very 
well  done  in  a technical  sense  without  disclosing 
great  concentration  of  mind. 

Gallery  17.  A variety  of  subjects  con- 
tinues to  impress  one  in  this  gallery.  Portraits, 
landscapes,  and  historical  subjects,  with  here  and 
there  a genre  note,  make  the  general  character  of 
the  French  exhibit,  showing  at  every  turn  the 
great  technical  dexterity  for  which  French  art 
has  long  been  celebrated.  There  is  no  picture 
of  outstanding  merit  in  this  gallery,  unless  one 
would  single  out  a very  sympathetic,  simple 
landscape  by  Paul  Buffet  and  the  Lucien  Griveau 
landscape  called  “The  Silver  Thread,”  diagonally 
opposite,  a canvas  of  rich  tonality  and  distinctive 
composition. 

Gallery  16.  An  adjoining  gallery  toward 
the  east  has  a great  number  of  excellent  pictures 
to  hold  the  attention  of  the  visitor.  To  begin 
with  the  figure  painters,  the  Desch  portrait  of  a 
little  girl  in  empire  costume  appeals  by  its  genu- 
inely original  design.  The  carefully  considered 
pattern  effect  of  this  canvas  is  most  agreeable 
and  well  assisted  by  a very  refined  colour  scheme. 

[19] 


THE  FOREIGN  NATIONS 
Although  a trifle  dry,  the  quality  of  painting  in 
this  canvas  is  the  same  as  that  which  makes 
Whistler’s  work  so  interesting.  This  painting 
is  one  of  the  great  assets  of  the  French  section, 
and  to  my  mind  one  of  the  great  pictures  of  the 
entire  exhibition.  Balancing  the  Desch  canvas, 
one  finds  another  figural  canvas  of  great  beauty 
of  design,  by  Georges  Devoux.  “His  Farewell,” 
while  of  a sentimental  character,  is  strong  in 
drawing  and  composition.  It  is  very  consistent 
throughout.  Everything  in  the  picture  has  been 
carefully  considered  to  support  the  poetic,  senti- 
mental character  of  the  painting,  which  is  ad- 
mirably delicate  and  convincing  without  being 
disagreeably  weak. 

Jacques-Emile  Blanche  is  represented  in  this 
gallery  by  his  well-known  portrait  of  the  dancer 
Nijinski.  A certain  oriental  splendor  of  colour 
is  the  keynote  of  this  canvas,  which  is  much 
more  carelessly  painted  than  most  of  Blanche’s 
very  clever  older  portraits.  On  the  opposite 
wall  Caro-Delvaille  shows  his  dexterity  in  the 
portrait  of  a lady.  The  lady  is  a rather  unim- 
portant adjunct  to  the  painting  and  seems 
merely  to  have  been  used  to  support  a magnifi- 
cently painted  gown.  There  is  a peculiar  con- 
trast m the  very  naturalistically  painted  gown 
and  the  severe  interpretation  of  the  face  of  the 
sitter.  Ernest  Laurent’s  portrait  of  Mile.  X is 
typically  French  in  its  loose  and  suggestive  style 
of  painting,  and  easily  one  of  the  many  good 
portraits  in  the  gallery. 

Among  the  landscapes  Andre  Dauchez’  “Con- 
carneau, ’’Charles  Milcendeau’s  “Washerwoman,” 
on  the  opposite  wall,  and  last  but  not  least,  Rene 
[20] 


THE  FOREIGN  NATIONS 

Menard’s  “Opal  Sea” — a small  picture  of  great 
beauty — deserve  recognition.  Pierre  Roche  has 
a statuette  of  Loie  Fuller  in  this  gallery  which  is 
conspicuous  by  its  daring  composition  and  simple 
treatment. 

Gallery  15.  Entering  this  gallery,  the  first 
canvas  to  attract  one’s  attention,  by  reason  of  its 
boldness  of  composition  and  colour,  is  a large 
Lucien  Simon  called  “The  Gondola.”  The  versa- 
tility of  this  artist  is  well  brought  out  by  another 
picture  of  a baby,  about  to  be  bathed,  previously 
referred  to,  and  by  a third  canvas,  of  “The  Com- 
municants,” near  “The  Gondola.”  Simon  seems 
to  have  no  difficulty  in  using  several  mediums 
and  styles  of  expression  equally  well,  as  a com- 
parison between  “The  Gondola”  and  “The  Com- 
municants” will  easily  prove.  This  former  pic- 
ture is  the  more  original  of  the  two  technically, 
in  colour  as  well  as  in  composition.  It  is  in 
danger  of  losing  one’s  sympathy  by  a badly 
selected  frame.  Near  it  hangs  a trifolium  of 
virgins,  of  very  anaemic  colour.  The  drawing, 
however,  is  so  very  sensitive  in  this  canvas 
that  it  makes  good  for  the  unconvincing  anaemic 
colour  scheme. 

The  gem  of  this  gallery  is  a small  landscape 
of  Amedee-Julien  Marcel-Clement,  of  extraor- 
dinarily fine  composition.  A fine  decorative 
quality  is  its  chief  asset,  and  its  sympathetic 
technical  handling  adds  much  to  the  enjoyment 
of  this  picture.  Bartholeme’s  kneeling  figure  in 
the  center  of  the  room  is  of  wonderful  nobility  of 
expression  and  entirely  free  from  a certain  ex- 
treme physical  naturalism  so  often  found  in 
modern  French  sculpture. 


[21] 


THE  FOREIGN  NATIONS 

Gallery  14.  Passing  into  the  next  gallery, 
where  figural  pictures  predominate,  a very  swingy 
composition  of  a Brittany  festival,  by  Gharles- 
Rene  Darrieux,  is  most  conspicuous,  for  the 
forceful  handling  and  the  fine  quality  of  move- 
ment which  characterize  the  procession  of  figures 
rhythmically  moving  through  the  picture.  Of 
the  two  large  nudes  on  the  same  wall,  one,  a 
Besnard,  is  vulgarly  physical,  although  well 
painted,  and  the  other  too  insipid  to  make  one 
feel  that  the  French  penchant  for  nudes  is  suffi- 
ciently justified.  Le  Sidaner’s  poetic  evening 
recommends  itself  for  the  quiet  intimacy  with 
which  it  is  handled.  Herrmann  Vogel’s  portrait 
of  a gentleman  in  a chair,  also  on  the  east  wall, 
while  not  very  spontaneous  in  handling,  is  in- 
teresting nevertheless  in  its  composition  and  the 
psychological  characterization  of  the  sitter. 
Most  of  the  other  pictures  in  this  gallery  have 
really  not  enough  individual  character  to  single 
them  out,  no  matter  how  high  their  general 
standard  may  be. 

Gallery  13.  The  last  and  smallest  of  the 
French  galleries  is  given  over  to  some  recent 
phases  of  French  art.  After  looking  at  the 
serious  work  of  the  French  in  the  other  galleries, 
a first-hand  acquaintance  with  this  medley  of 
newest  pictures  is  hardly  satisfactory.  There 
is  a feeling  of  affected  primitiveness  about  most 
of  them,  particularly  in  a small  canvas  of  a 
bouquet  of  flowers  in  a green  vase,  which  is  the 
acme  of  absurdity.  If  Odilon  Redon  wanted  to 
be  trivial,  he  has  achieved  something  quite 
wonderful.  Certain  ultra-modern  manifesta- 
tions of  art  are  never  more  intolerable  than  when 
[22] 


r > Z S ^ J 

E:  H & H 


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ts)  2 


P° 

PI 


THE  FOREIGN  NATIONS 
seen  together  in  large  numbers,  as  in  this  gallery. 
Still,  the  French  section  can  well  afford  some  of 
these  experimenting  talents,  since  the  general 
character  of  their  other  work  is  so  high.  Maur- 
ice Denis’  canvas  of  a spring  procession,  in  just 
a few  silvery  tones,  is  really  lovely;-  the  large 
number  of  decorations  by  him,  all  around  on  the 
second  line,  scarcely  comes  up  to  the  beauty  of 
this  small  canvas. 

The  French  representation  deserves  much 
credit  for  a great  number  of  reasons,  not  least 
for  an  astounding  versatility,  always  accom- 
panied by  technical  excellence. 

ITALY 

Going  over  into  the  Italian  galleries,  the 
first  impression  is  that  while  there  are  certain 
groups  of  pictures  of  a very  high  order,  the 
general  standard  of  this  section  is  not  quite  so 
high  as  in  the  French  Department.  The  Ital- 
ians seem  to  have  the  advantage  over  the  French 
in  regard  to  the  selection  of  a background  for 
their  galleries.  They  made  no  such  mistake  as 
putting  a Pullman  car  floor  pattern  on  the  wall, 
and  the  general  effect  is  one  of  calmness.  As  in 
the  French  section,  the  work  of  the  modern 
painter  seems  superior  to  sculptured  work  of 
the  same  period.  The  work  of  Tito  and  of 
Mancini,  among  the  painters,  stands  out  in  this 
Italian  collection. 

Gallery  21.  Tito,  whose  work  can  be 
found  in  a group  of  five  pictures  in  this  gallery, 
has  a very  pronounced  decorative  sense,  which 
he  employs  with  great  ease  in  a group  of  five 
most  excellent  pictures.  To  students  of  tech- 
nical procedure  his  work  is  worthy  of  study. 

[23] 


THE  FOREIGN  NATIONS 
His  under-painting  is  done  in  tempera,  and 
sometimes  the  complete  work,  as  in  the  cattle 
picture,  is  done  in  this  medium,  which,  by  an 
application  of  varnish,  is  then  transformed  into 
an  oil.  The  most  interesting  pictures  in  his 
group  of  five  are  the  two  on  the  right  of  his  wall. 
The  mythological  subjects  underlying  both  can- 
vases have  a classic  note,  but  their  refreshing 
colour  scheme  removes  these  pictures  from  any 
classic  affiliation.  The  woodland  scene,  enliv- 
ened by  a few  hilarious  centaurs  pursuing 
nymphs,  is  tremendously  sure  in  handling  and 
very  gorgeous  in  the  many  golden  browns  and 
greens  which  control  the  colour  scheme.  The 
kneeling  Venus  alongside  is  unusually  alluring 
in  its  blue  and  gold  tones,  and  is  one  of  the  really 
fine  pictures  in  the  exhibition.  While  the  Venus 
and  the  Centaurs  are  the  backbone  of  the  Italian 
section,  Tito’s  “Blue  Lady”  is  very  chic  and,  as 
a colour  arrangement  of  blue-blacks  and  flesh 
colour,  most  decorative.  The  canvas  in  the 
center,  evidently  belonging  to  an  older  period 
of  the  artist,  has  nothing  of  the  direct  method 
of  the  accomplished  master,  although  in  compo- 
sition it  has  a certain  bigness.  Tito’s  art  has 
the  full  and  rich  expression  of  an  original  per- 
sonality. 

The  landscapes  in  this  gallery,  of  which  there 
are  a goodly  number,  are  all  typically  Italian  in 
their  artificiality  of  colour  and  in  a certain 
sweetness  which  makes  them  lose  in  one’s  esti- 
mation the  longer  one  studies  them.  Clever  as 
they  are  technically,  they  do  not  convince  and 
they  do  not  reflect  a thorough  knowledge  of  the 
spirit  of  outdoors.  All  one  admires  in  the 
[24] 


‘‘THE  PROCESSION** 

FROM  THE  OIL  PAINTING,  BY  ETTORE  TITO 
GALLERY  21 


THE  FOREIGN  NATIONS 
Barbizon  men — the  lyric  feeling  of  a Corot  or 
the  more  dramatic  note  of  a Rousseau — is  miss- 
ing in  the  modern  Italian  landscape  as  seen  in 
these  pictures.  They  are  flippant  in  their 
catchy  technique  and  in  the  absence  of  any 
thought. 

Gallery  22.  This  room  is  dominated  by 
three  portraits  by  Antonio  Mancini,  of  unusual 
cleverness  and  very  fine  psychological  characteri- 
zation. Mancini’s  work  grows  on  one.  While 
seeming  at  first  rather  loose  and  superficial, 
they  disclose  on  more  intimate  study  a fine 
constructive  quality.  They  are  not  particularly 
interesting  in  colour;  as  a matter  of  fact  they 
are  very  monochromatic.  Their  appeal  is  based 
on  an  intensely  serious  quality  of  studious 
experimentation,  which  a very  sketchy  technique 
cannot  hide.  To  the  left  of  the  three  Mancinis 
hangs  a simple  picture  of  large  proportions 
called  “Maternity,”  by  Pietro  Gaudenzi.  This 
is  one  of  those  modern  interpretations  of  the 
birth  of  Jesus  which  appeals  by  the  individual- 
istic note.  The  picture  is  sympathetic  by  reason 
of  its  restriction  to  a few  simple  facts.  No 
doubt  it  will  fail  to  receive  a wide  appreciation, 
since  sociologically  any  picture  of  its  type  dis- 
closing human  life  under  poverty-stricken  con- 
ditions is  rarely  approved  by  the  public.  Never- 
theless one  of  the  greatest  of  all  stories  is,  with 
feeling  and  restraint  alike,  well  rendered  on 
this  canvas. 

On  the  opposite  wall  Arturo  Noci  has  a very 
striking  interior.  There  is  nothing  tricky  about 
this  most  effective  canvas.  The  result  is  simply 
and  directly  attained  by  good,  sound  painting. 

[25] 


THE  FOREIGN  NATIONS 
The  red  curtain  in  the  distant  room  is  a trifle 
raw  and  refuses  somewhat  to  take  its  place  in 
the  picture.  Two  landscapes  on  this  wall 
deserve  mention  for  their  fine  skies  and  their 
decorative  note.  Giuseppe  Carosi’s  little  land- 
scape with  the  oxen  is  so  much  better  than  the 
one  below  by  the  same  artist  that  it  is  hard  to 
believe  both  were  done  by  the  same  man. 
“La  Valle  dell’  Aniene,”  by  Dante  Ricci,  is  big 
in  feeling,  well  painted,  and  unquestionably  one 
of  the  best  landscapes  in  the  Italian  section. 

Gallery  23.  The  west  gallery  is  almost 
entirely  given  over  to  sculpture,  with  one  excep- 
tion which  is  notable  so  far  as  the  dear  public 
is  concerned — a painting,  “The  Arch  of  Septi- 
mius  Severus,”  by  Luigi  Bazzani.  I cannot  fath- 
om why  Luigi  Bazzani  should  go  to  all  this  trouble 
in  trying  to  imitate  a photograph  when  the 
result  over  which  he  so  painfully  laboured 
could  be  done  by  any  good  photographer  for 
less  than  five  dollars.  It  seems  to  me  an  abso- 
lutely futile  thing  to  try  to  represent  something 
in  a medium  ver}^^  badly  chosen  for  this  particular 
stunt.  A stunt  it  is,  and  always  will  be,  no 
matter  how  much  we  admire  the  painstaking 
drawing  and  the  infinite  care  involved.  Textu- 
rally  the  canvas  is  all  wrong,  because  the  sky, 
the  stone,  everything  in  the  picture,  looks  like 
glass  and  not  like  the  various  things  it  is  intended 
to  represent.  However,  it  is  a wonderful  piece 
of  patience — so  much  should  be  said  for  it. 

Millet’s  man  with  the  hoe  sitting  down  is  the 
strongest  piece  of  sculpture  in  this  gallery.  The 
figure  doubtless  belongs  to  an  older  school,  as 
its  discolorations  as  well  as  its  technical  treat- 
[26] 


THE  FOREIGN  NATIONS 
ment  indicate.  Alongside  the  rest  of  the  things 
in  this  small  room  it  is,  in  spite  of  being  carried 
somewhat  too  far,  very  forceful  and  convincing. 
No  matter  whether  the  man  succumbed  to  the 
dreariness  of  work  or  to  the  malarial  fever  of 
the  Pontine  swamps,  all  that  has  ever  been  said  * 
about  Millet’s  man  and  the  terrible  fatalism  of 
his  facial  expression  is  found  in  this  piece  of 
sculpture. 

Rodin’s  influence  is  making  itself  felt  in 
most  of  the  other  pieces  in  this  room,  as  in  the 
Vedani  kissing  pair.  The  beautiful  colour  in 
the  marble  in  this  group  puts  much  life  into  it. 
Nicolini’s  work  shows  much  breadth  and  a fine 
mastery  of  form.  A frame  of  animal  plaques 
by  Brozzi  adds  considerably  to  the  artistic 
merit  of  the  sculpture.  A certain  muscular 
mannerism  is  evident  in  all  of  them,  though  not 
in  the  least  disturbing. 

Gallery  24.  Two  portraits  by  Enrico 
Lionne  of  very  repulsive  colour  are  promi- 
nently hung  in  the  west  gallery,  without  con- 
vincing one  in  the  least  of  this  artist’s  high 
standing  at  home.  Cold  and  artificial,  they  are 
not  deserving  of  the  prominent  place  they 
occupy.  Near  the  door  on  the  opposite  wall 
Vincenzo  Jrolli  presents  a street  musician  and 
his  audience  in  a canvas  riotous  with  good 
colour.  The  composition  and  the  literal  tech- 
nical treatment  of  this  work  commend  them- 
selves highly  by  good  judgment  and  spontaneous 
handling.  The  two  figure  pictures  by  Pietro 
Chiesa,  on  an  adjoining  wall  to  the  right,  ought 
to  be  remembered,  and  also  an  interior  on  the 
opposite  wall  by  Vianello. 


[27] 


THE  FOREIGN  NATIONS 

Gallery  25.  In  the  last  of  the  Italian 
galleries,  on  the  west  wall,  we  observe  the  un- 
usual spectacle  of  a whole  family  of  artists  dis- 
tinguishing itself  in  a group  of  pictures.  There 
is  Beppo  Ciardi,  the  father;  Guglielmo,  the  son; 
and  Emma,  the  daughter.  All  of  their  pictures 
are  conspicuous  for  their  saneness  and  big  feeling. 
The  father,  Beppo,  with  the  center  canvas,  has 
not  the  breadth  and  bigness  that  is  so  typical 
of  both  the  son’s  pictures  of  similar  subjects. 
The  skies  in  the  younger  man’s  pictures  are 
particularly  fine.  The  daughter’s  single  canvas, 
on  the  left,  to  me  seems  even  better  than  those 
of  both  father  and  brother.  A certain  imagi- 
native quality,  shown  in  this  big  formal  garden, 
constitutes  Emma  Ciardi’s  superiority  over  the 
rest  of  the  family.  On  the  whole  the  showing 
of  this  family  is  excellent  in  every  way. 

The  landscapes  in  this  gallery  are  far  above 
those  mentioned  in  the  Tito  gallery.  In  fact 
there  are  so  many  other  good  pictures  that  a 
mere  mention  of  names  must  suffice.  From  the 
Ciardi  group  on  toward  the  right,  Guido  Marus- 
sig’s  “Walled  City”,  Italico  Brass’  “Pontoon 
Bridge”,  and  particularly  Scattola’s  “Venice”  are 
all  worthy  of  comment.  Scattola’s  picture  is  very 
sensitively  studied,  discreetly  painted  and  full 
of  the  poetry  of  a summer  night.  Before  leav- 
ing the  Italian  section,  Montessi’s  big  imagin- 
ative architectural  study  should  be  appreciated. 
It  will  crystallize  the  visitor’s  opinion  of  the 
general  excellence  of  Italy’s  contribution  to  the 
exhibition. 

As  a matter  of  racial  tradition,  and  not  so 
much  because  of  similarity  of  standards,  we  are 
[28] 


“THE  FORTUNE  TELLER” 

FROM  THE  OIL  PAINTING  BY  F.  LUIS  MORA 
GALLERY  7l 


THE  FOREIGN  NATIONS 
almost  obliged  to  continue  our  investigations 
into  the  other  nations  most  closely  allied  with 
the  Latin  people,  of  Southern  Europe  and  else- 
where. There  is  much  room  to  believe  that  in 
a contemporaneous  art  exhibition  the  Paris 
influence  should  make  itself  felt  in  more  than 
one  way.  Paris,  after  all,  is  the  Mecca  of  all 
art  students,  particularly  of  the  foreign  Latin 
countries.  The  technical  superiority  of  the 
French  school  of  painting  has  for  years  caused 
an  influx  of  foreign  students  into  Paris,  who  are 
now  giving  us,  in  such  national  sections  as  those 
of  Portugal,  the  Argentine,  Uruguay,  Cuba, 
and  the  Philippine  Islands,  the  result  of  this 
contact.  It  will  easily  be  seen  that  unless  a 
distinct  national  outlook,  based  on  scenery, 
climate,  history,  and  tradition  generally,  is 
added  to  the  mere  technical  performance,  no 
matter  how  clever,  a national  art  can  hardly 
develop.  So  we  find  that  with  all  the  good 
intentions  in  the  art  of  any  of  the  countries 
mentioned,  very  little  typical  national  expres- 
sion is  brought  out.  In  choice  of  subject  and 
colour  scheme  the  art  of  all  of  these  countries 
is  very  much  alike. 

PORTUGAL 

The  Portuguese  section  does  not  present  any 
great  painter  such  as  Spain,  for  instance,  has 
produced  in  Sorolla  or  Zuloaga,  though  both 
seem  to  be  very  much  admired  by  all  Latin 
painters,  as  well  as  by  some  of  the  Germanic 
artists,  as  a certain  canvas  of  a Dutch  lady  in 
the  Holland  section  will  demonstrate. 

Nudes  are  still  in  vogue,  or  rather  naked 
women,  and  probably  will  be  as  long  as  the  sale 

[29] 


THE  FOREIGN  NATIONS 
of  Strong  drink  needs  to  be  increased  by  the 
kind  of  creation  commonly  known  as  the  saloon 
picture.  There  is  surely  nothing  nobler  than 
the  truly  idealized  interpretation  of  the  human 
figure  by  artistic  means,  but  the  purposely 
sensuous  nude  is  becoming  rather  a bore. 
Painting  flesh  is  one  of  the  most  difficult  of  all 
things,  particularly  as  to  the  correct  texture, 
but  there  ought  to  be  a limit  in  the  production 
of  such  a type  of  picture  as  the  one  by  Veloso 
Salgado  in  the  Portuguese  section. 

Here  a great  variety  of  subjects  is  treated, 
mostly  with  entirely  too  much  realism.  Photo- 
graphic truthfulness  is  not  the  function  of  paint- 
ing, because,  first  of  all,  the  medium  will  not 
allow  it  without  losing  a certain  quality  indi- 
cating the  fact  that  it  is  painting;  and  secondly, 
art  can  only  be  an  approximation  anyhow,  and 
it  should  carry  its  point  by  forceful  and  con- 
vincing suggestion  rather  than  by  a tightly 
rendered  photographic  fact.  The  great  pictures 
are  first  those  of  a strong  suggestive  quality  and, 
secondly,  those  possessing  a certain  something 
the  artist  calls  design — meaning  thereby  a more 
or  less  arbitrary  arrangement  of  form  and  colour 
effects  which  will  please  the  eye.  The  idea  of 
design  has  not  struck  the  Portuguese  artist  as 
yet;  at  least  it  is  not  apparent  in  the  pictures 
of  that  section.  The  technical  excellence  of 
their  work  is  uniform  and  in  some  cases  very 
creditable,  particularly  in  the  many  small  can- 
vases by  Senhor  de  Sousa  Lopes,  the  art  com- 
missioner of  his  country. 

Continuing  in  the  western  gallery  of  the 
Portuguese  section,  directly  opposite  the  nude 
[30] 


THE  FOREIGN  NATIONS 
referred  to,  an  outdoor  sewing  circle  by  Jose 
Malhoa  arouses  interest.  The  outdoor  quality 
in  this  canvas  is  very  pronounced,  and  the  gay 
enlacement  of  the  luxuriant  wistaria  with  the 
orange  trees  in  the  distance,  together  with  the 
multi-coloured  ensemble  of  children,  make  for 
a lovely  effect.  The  middle  gallery  doubtless 
holds  Portugal’s  most  important  claims  upon 
artistic  distinction,  in  the  group  of  three  por- 
traits and  two  still-lifes  by  Columbano.  The 
three  portraits  are  unusually  dignified  and 
psychologically  suggestive  enough  to  show  that 
the  painter  was  not  interested  in  exterior  facts 
alone.  The  portrait  of  the  bearded  gentleman 
in  the  middle  is  fine,  though  somewhat  academic 
in  colour.  The  two  little  still-lifes  wedged  in 
between  the  larger  portraits  are  exquisite  in 
every  way,  and  make  up  for  a lot  of  super- 
ficialities found  in  this  section.  All  around  in 
this  gallery,  in  more  than  a dozen  sketches  from 
Spain  and  Italy,  Sousa  Lopes  shows  fine  ability 
in  the  handling  of  paint  and  great  power  of 
observation.  All  of  these  apparently  recent 
things  by  Senhor  Lopes  are  far  more  enjoyable 
than  a huge  “Pilgrimage”,  which,  while  well 
painted,  is  too  scattered.  The  unity  of  feeling 
in  the  work  of  Columbano  is  much  more  neces- 
sary in  a canvas  of  this  size  than  in  a small 
sketch.  (Rembrandt’s  famous  “Nightwatch” 
and  Velasquez’s  “Surrender  of  Breda”  illustrate 
this  point  ver}'’  well.)  Salgado’s  well-painted 
interior  called  “The  National  Song”  has  more  of 
this  desirable  feeling  of  oneness,  which  may  be 
due  to  the  fact  that  it  deals  with  an  indoor 
setting,  while  de  Sousa  Lopes’  “Pilgrimage”  in 

[31] 


THE  FOREIGN  NATIONS 
the  adjoining  gallery  presents  a far  more  diffi- 
cult problem  in  the  reflected  and  glaring  light 
effect  of  a southern  country.  Among  the  sculp- 
tures of  this  country  Vaz  Jor’s  “Grandmother”  is 
of  unusually  high  merit  and  intensely  well  studied. 
On  the  whole  there  is  more  academic  training  in 
evidence  than  originality  of  expression,  but  we 
may  expect  good  things  hereafter  from  the  art 
of  this  country,  which  practically  at  no  time  in 
the  history  of  art  has  produced  any  really 
great  name. 

ARGENTINE 

Retracing  our  steps,  we  invade  the  Argen- 
tine, in  a well-appointed  gallery.  The  first 
general  impression  is  very  good,  though  on 
closer  examination  nothing  of  really  great  merit 
holds  one’s  attention  for  any  length  of  time. 
While  naturalism  reigns  in  Portugal,  a more 
pronounced  decorative  conventional  note  pre- 
dominates in  this  section,  particularly  in  the 
portraiture.  There  is  a peculiar  superabund- 
ance of  purple  and  dark  reds  in  the  Argentine 
section,  which  gives  this  gallery  a morbid  quality. 
On  the  main  wall,  in  the  left  corner.  Hector 
Nava  has  a very  distinguished  “Lady  in  Black”. 
Among  all  of  the  portraits  on  this  wall  it  is 
easily  the  best,  although  some  charming  inte- 
riors of  a singularly  cool  tonality  are  not  without 
interest.  They  are  too  reminiscent  of  Frieseke 
to  convince  one  of  their  originality.  Another 
“Black  Lady”,  continuing  toward  the  right  on  the 
next  wall,  has  much  to  recommend  her.  A better 
frame  would  enhance  the  merit  of  this  canvas. 

There  is  no  landscape  of  any  importance  in 
the  Argentine  section,  no  matter  how  hard  the 
[32] 


0^2  3 

ills 

s-  = <= 


WATER  FALL 


f-Ai 


THE  FOREIGN  NATIONS 
effort  to  find  one.  They  are  all  singularly 
artificial.  A small  harbor  picture  by  Pedro 
Delucchi  is  strong  in  colour,  as  well  as  in  tech- 
nical treatment.  It  has  an  unusual  wealth  of 
colour,  and  great  richness  which  contrasts 
strongly  with  the  general  coldness  of  this  section. 
URUGUAY 

Here  another  South  American  republic 
holds  forth  in  a small  gallery  off  the  Italian 
section.  The  gallery  is  dominated  by  a large 
equestrian  portrait  of  General  Galarze,  by 
Blanes  Viale.  A certain  fondness  for  disagree- 
able greens  and  for  decorative  effects  is  notice- 
able in  this  gallery,  and  one  is  not  convinced  of 
the  necessity  for  a more  comprehensive  display. 
CUBA 

The  same  remark  applies  to  the  Cuban  sec- 
tion, where  Romanach’s  Diisseldorf  style  of 
picture  shows  at  least  good  academic  training, 
without  rising,  however,  above  illustration  in 
any  one  of  the  very  well  painted  figure  pictures. 
Rodriguez  Morey’s  big,  intimate  foreground 
studies  are  commendable  for  their  faithfulness 
and  for  a certain  poetic  quality  which  takes  them 
out  of  the  realm  of  mere  accurate  truthfulness. 
PHILIPPINE  ISLANDS 

The  small  Philippine  section  makes  one  curi- 
ous to  know  whether  there  is  nothing  in  the  tradi- 
tion of  this  people  related  to  the  art  of  Asia  that 
could  serve  as  a basis  for  their  artistic  endeavors. 
To  any  serious-minded  person  it  must  be  evident 
that  the  Filipino  is  not  going  to  work  out  his 
artistic  salvation  by  way  of  the  Paris  studio.  It 
must  come  out  of  the  soil,  so  to  speak,  and  must 
be  based  on  the  racial,  religious,  and  other 

[33] 


THE  FOREIGN  NATIONS 
national  elements.  It  would  do  the  Filipino 
people  good  to  see  their  collection  in  close  prox- 
imity to  that  of  other  nations.  Aside  from  that, 
a natural  sequence  of  artistic  development  by 
developing  the  more  decorative  arts  of  making 
useful  things  beautiful — such  things  as  pots  and 
pans,  rugs,  and  jewelry — ^would  be  much  more 
becoming  than  this  European  affectation.  The 
real  art  of  the  Filipinos  is  to  be  seen  in  their 
art  industries  in  the  Philippine  Building. 

THE  ORIENT 

For  historical  reasons  alone,  if  not  for 
supremacy  along  artistic  lines,  Japan  and  China 
should  by  right  be  dealt  with  at  the  very  be- 
ginning. But  having  had,  since  time  immemo- 
rial, a very  detached,  highly  original  note,  they 
fit  in  anywhere,  if  not  best  in  between  the  art  of 
the  Romanic  and  Germanic  races.  Practically 
the  entire  world  owes  a great  debt  to  Japan,  for 
a certain  outlook  in  decorative  art  has  been 
adopted  from  Japan  by  the  best  artists  of  the 
world.  Oriental  art  is  so  truly  an  art  of  the 
people,  devoting  itself  most  closely  to  the  artistic 
development  of  the  utilitarian  things  of  life,  that 
to  see  them  at  their  best  one  has  to  look  at  their 
furniture,  including  folding  screens,  pottery, 
jewelry,  rugs,  and  practically  everything  else  that 
is  needed  in  the  daily  life  of  the  people.  The  art 
of  China  and  Japan  is  so  old  that  its  real  origin 
is  almost  a matter  of  guesswork,  and  has  a 
certain  general  obscurity  to  most  outsiders, 
owing  to  language,  religion,  and  customs.  This 
has  led  to  a commercial  exploitation  of  their  art 
in  Europe,  and  in  America  particularly,  based 
mostly  on  humbug  and  partly  on  facts.  If  all 
[34] 


“THE  PEACEMAKER” 

FROM  THE  OIL  PAINTING,  BY  ERNEST  L.  BLUMENSCHEIN 
GALLERY  47 


THE  FOREIGN  NATIONS 
the  pottery,  rugs  and  furniture  said  to  have 
come  from  distinguished  artists  and  from  even 
more  distinguished  circles  of  ownership,  mostly 
palaces  of  the  Ming  dynasty,  were  enumerated, 
there  would  be  nothing  left  to  have  come  from 
the  atmosphere  of  the  ordinary  Oriental.  The 
Japanese  and  Chinese  are  taking  quick  advan- 
tage of  the  guilelessness  of  the  western  lover  of  art, 
and  much  that  is  to  be  seen  in  either  one  of  the 
two  sections  is  rather  a concession  to  western 
demand  than  to  native  oriental  talent.  Only 
the  special  student  of  oriental  art  will  consent 
to  learn  enough  of  the  Japanese  or  Chinese 
language  to  familiarize  himself  with  any  other 
than  the  commonly  known  artists  of  these 
countries,  and  all  that  one  can  do  within  the 
frame  of  an  international  exhibition  is  to  single 
out  those  things  which  appeal  on  the  basis  of 
certain  artistic  principles  which  are  the  same  the 
world  over.  To  go  into  the  many  religious  and 
other  sentimental  considerations  which  are  some- 
times the  basic  justification  for  some  very  ex- 
traordinary fantastic  things,  charmingly  ex- 
ploited by  certain  art  dealers,  is  impossible 
within  the  scope  of  this  book. 

JAPAN 

The  Japanese  people,  at  the  extreme  southern 
end  of  the  Palace  of  Fine  Arts,  have  a representa- 
tive show  of  painted  screens,  of  extraordinary 
beauty.  Anyone,  without  being  in  the  least 
familiar  with  the  fauna  and  flora  of  Japan,  must 
admire  the  tremendously  acute  power  of  obser- 
vation and  surety  of  drawing  which  made  these 
designs  possible.  The  two  sixfold  screens  by 
Taisei  Minakami  on  the  east  wall  of  the  eastern 

[35] 


THE  FOREIGN  NATIONS 
gallery  are  probably  the  most  magnificently 
daring  examples  of  modern  Japanese  art.  To 
the  student  of  design  they  offer  a most  stimulat- 
ing opportunity  for  study.  Acutely  observed, 
their  tropical  subjects,  very  daring  in  colour,  are 
exhaustively  beautiful.  The  spacing  of  the 
design,  the  relative  distribution  of  the  few  daring 
colours  against  a gold  background  of  wonderful 
texture,  combine  in  a picture  of  great  vitality. 
The  art  of  no  people  is  so  scientific  as  that  of 
these  people,  whose  every  effort,  no  matter  how 
insignificant,  is  technically  always  sound.  Our 
modern  art  schools  could  very  profitably  imitate 
the  Japanese  principle  of  teaching  their  young 
students  how  to  do  a thing  well  and  of  leaving 
the  choice  of  subjects  to  their  own  inclination. 

Almost  opposite,  a vertical  composition  of  a 
lumber  camp  on  a mountainside,  by  Bunto  Ha- 
yashi,  attracts  by  an  unusual  subject  very  de- 
scriptively rendered.  The  picture  belongs  to 
the  older  school,  not  so  much  for  the  lack  of 
colour,  which  is  often  erroneously  identified  with 
the  older  Japanese  works,  as  for  a certain  quality 
of  less  decoration  and  of  more  detailed  treat- 
ment of  the  drawing.  The  drawing  is,  of  course, 
the  important  element  in  all  Japanese  art,  since 
all  of  their  work  has  to  yield  a great  deal  of 
pleasure  of  the  intellectual  kind  at  close  distance, 
on  account  of  the  smallness  of  Japanese  dwell- 
ings, which  keeps  the  owner  of  the  picture  in 
close  proximity  with  his  artistic  possessions.  A 
picture  of  crows  in  a rainstorm,  on  the  same  wall, 
on  the  right  side  of  the  southern  door,  and  also 
a very  characteristic  study  of  some  kind  of  cedar, 
with  birds  on  the  left  of  it,  give  one  an  excellent 
[36] 


THE  FOREIGN  NATIONS 

idea  of  the  astonishing  variety  of  material  that 

the  Japanese  artist  successfully  controls. 

In  two  irregularly  shaped  triangular  galleries 
adjoining,  Shodo  Hirata  maintains  the  standard 
of  the  first  gallery,  not  to  forget,  either,  Toyen 
Oka  with  his  oleander  bush  and  the  cat  on  the 
picturesque  fence.  Tesshu  Okajima’s  hollyhock 
screens  are  marvels  of  decorative  simplicity, 
while  Kangai  Takakura  uses  a washday  as  a 
motive  for  a double  twofold  screen  decoration. 
The  last  two  artists  can  both  be  found  in  the 
second  irregular  triangular  gallery,  opposite  the 
first  one  mentioned.  The  central  octagonal 
gallery  also  is  devoted  to  screen  pictures,  done 
by  means  of  embroidery.  Some  of  them,  largely 
those  of  native  design,  are  successful  in  really 
giving  the  quality  of  the  subjects  depicted,  but 
I cannot  grow  enthusiastic  over  two  unduly 
protected  screen  embroideries,  a German  marine 
and  an  English  pair  of  lions,  done  in  silk.  They 
are  both  as  hard  as  nails  and  devoid  of  any  real 
suggestion  of  the  spirit  which  animates  either 
water  or  lions  in  reality.  If  it  is  so  great  an 
achievement  as  we  are  often  asked  to  believe 
to  do  certain  things  in  badly  chosen  material, 
then  why  not  try  to  reproduce  Rafael’s  “Sistine 
Madonna”  with  thumbtacks?  Most  such  at- 
tempts to  find  an  agreeable  substitute  for  the 
various  painting  media  are  merely  silly, 
rs-vv  Sharing  the  hospitality  of  the  cases  with  the 
embroidery  pictures  are  the  wood  sculptures, 
some  of  which  are  intensely  interesting,  as,  for 
instance,  the  “Man  with  the  Spade.”  The 
underlying  idea  of  cubism  is  very  intelligently 
embodied  in  this  small  figure,  without  any 

[37] 


THE  FOREIGN  NATIONS 
affectation.  The  many  small  woodblock  prints 
to  be  seen  here  do  credit  to  the  reputation  which 
Japanese  artists  have  long  enjoyed  in  this  special 
field. 

The  remaining  smaller  galleries  are  given 
over  to  replicas  of  the  originals  of  older  art, 
modern  sculpture,  and  painting  in  the  modern 
style.  Why  the  modern  Japanese  artists  want 
to  divorce  themselves  from  the  traditions  of 
their  forefathers  seems  incomprehensible.  There 
is  not  a thing  in  the  western  style  in  this  gallery 
of  Japanese  painting  that  comes  anywhere 
near  giving  one  the  artistic  thrills  won  by  their 
typically  Japanese  work.  I think  the  sooner 
these  wayward  sons  are  brought  back  into  the 
fold  of  their  truly  oriental  colleagues,  the  better 
it  will  be  for  the  national  art  of  Japan,  the  most 
profound  art  the  world  has  ever  seen. 

CHINA 

The  first  impression  of  the  Chinese  section 
is  disappointing.  There  is  no  real  life  in  any  of 
the  work  here  displayed,  and  most  of  it  consists 
of  modern  replicas — some  of  very  excellent 
quality — of  their  oldest  and  best  art  treasures. 
The  Chinese  seem  to  be  absolutely  content  to  rest 
upon  their  old  laurels,  the  fragrance  of  which  can 
hardly  ever  be  exhausted;  but  nevertheless  that 
does  not  relieve  them  of  the  obligation  of  work- 
ing up  new  problems  in  a new  way.  There  is  so 
much  religious  and  other  sentiment  woven  into 
their  art  that  to  the  casual  observer  much  of  the 
pleasure  of  looking  at  the  varied  examples  of 
applied  art  is  spoiled  by  the  necessity  of  having 
to  read  all  of  the  long-winded  stories  attached  to 
many  of  them.  The  freshness  of  youth,  the 
[38] 


“THE  WHITE  VASE” 

FROM  THE  OIL  PAINTING,  BY  HUGH  H.  BRECKENRIDGE 
GALLERY  51 


THE  FOREIGN  NATIONS 
Spirit  of  progress,  which  enliven  the  Japanese 
section,  are  entirely  missing  in  this  display, 
which  seems  like  a voice  from  the  past — a solemn 
monument  to  an  old  civilization  without  any 
connection  with  the  New  Republic  and  its 
modern  pretensions.  I am  afraid  China  is 
laboring  under  conditions  of  internal  strife  which 
are  detrimental  to  the  development  of  any 
artistic  expression. 

SWEDEN 

Of  all  the  foreign  nations  represented,  with 
the  exception  of  Japan  and  China,  none  possesses 
so  distinct  a national  character  as  the  art  of 
Sweden.  I cannot  help  expressing  my  personal 
conviction  that  it  is  the  best  national  section  in 
the  whole  exhibition,  showing,  as  it  does,  not 
merely  easel  painting,  but  also  many  splendid 
examples  of  so-called  applied  art,  which  often 
permits  one  to  get  a deeper  insight  into  the 
standard  of  art  of  a people  than  easel  painting 
alone.  It  is  true  that  certain  examples  of  paint- 
ing in  the  French  or  American  sections  are  more 
appealing  to  us,  but  in  the  light  of  the  national 
characteristics  of  the  people  and  the  country, 
Swedish  art  has  a very  definite  quality,  con- 
sistently shown.  Their  work  has  a robustness 
which  has  nothing  to  do  with  the  salon  aspect 
of  the  art  of  southern  Europe,  particularly 
France.  In  fact  it  is  almost  opposed  to  the  art 
of  the  Romanic  races,  and  distinctly  apart  from 
the  art  of  Germany.  It  is  fortunate  Sweden 
could  make  such  a splendid  showing  without  the 
support  of  the  art  of  such  a man  as  Anders  Zorn, 
who,  while  decidedly  Swedish,  is  after  all  much 
of  a cosmopolitan  painter,  with  all  the  earmarks 

[39] 


THE  FOREIGN  NATIONS 
of  an  international  training.  The  art  of  the 
most  artistic  of  all  people,  that  of  the  French,  is 
often  said  to  have  a decadent  note.  In  com- 
parison, Swedish  art  may  be  said  to  be  abso- 
lutely robust,  healthy,  and  vigorous,  without 
being  coarse.  To  those  who  pretend  to  find 
a certain  physical  brutality  in  Swedish  art,  I 
should  like  to  point  out  that  the  most  delicate 
pictures  in  the  entire  exhibition — those  of  John 
Bauer — are  the  chief  asset  of  the  Swedish  exhibit. 
The  great  variety  of  the  work  in  this  section 
makes  it  very  interesting,  and  permits,  as 
said  before,  close  insight  into  many  phases  of 
modern  art. 

The  most  pronounced  individualities  in  the 
collection,  covering  all  fields,  are  Bruno  Lilje- 
fors,  Gustav  Fjaestad,  Carl  Larsson,  John 
Bauer,  Mr.  and  Mrs.  Boberg,  David  Edstrom, 
Mas-Olle,  and  others  too  numerous  to  mention. 
Bruno  Liljefors  for  many  years  has  been  known 
internationally  as  one  of  the  best  of  animal 
painters,  and  particularly  of  sea  fowl.  He  has 
had  the  experience  common  to  many  great 
artists,  of  working  himself  up  from  very  aca- 
demic beginnings  to  a wonderful  personality  of 
marked  freedom.  His  canvas  of  the  nine  wild 
swans  is  perhaps  the  biggest  single  picture  in 
the  entire  Exposition.  It  is  immediately  sugges- 
tive of  a decoration,  and  to  think  of  it  in  that 
sense,  as  a part  of  a wall  seen  from  a great 
distance,  makes  one  almost  tremble  with  expec- 
tation. This  truly  great  picture  is  a rhythmic 
masterpiece.  The  placing  of  these  graceful 
swans  is  marvelously  well  studied  from  the 
point  of  view  of  design,  yet  none  the  less  does 
[40] 


THE  FOREIGN  NATIONS 
an  expression  of  reality  animate  these  divine 
birds.  There  is  something  about  swans  which 
puts  them  even  above  the  king  of  birds,  the 
eagle.  I can  conceive  of  men  killing  any 
animal,  but  the  thought  of  one  of  these  noble 
birds  falling  victim  to  man’s  perverse,  desires  is 
incomprehensible  to  me.  Of  the  other  pictures 
by  the  same  artist,  the  flock  of  wild  geese, 
standing  in  the  shallow  water  of  a stony  beach, 
carries  ail  the  conviction  of  being  well  studied 
which  applies  to  any  of  Liljefors’  pictures. 
The  eagles  and  the  seagulls  are  scarcely  as  inter- 
esting as  the  swans.  Liljefors  is  never  better 
than  when  he  depicts  flying  birds — and  fly  they 
do.  There  is  never  any  doubt  about  it.  Those 
swans  are  actually  in  the  air,  and  moving.  A 
certain  disagreeable  fuzziness  in  the  skies  of 
all  of  his  pictures  interferes  somewhat  with 
their  full  enjoyment. 

Of  the  other  painters  Mrs.  Boberg  should  be 
mentioned  next.  She  is  the  wife  of  Ferdinand 
Boberg,  the  architect  of  the  Swedish  Building, 
who  himself,  as  a true  artist  excelling  in  a num- 
ber of  things,  has  a splendid  collection  of  etchings 
in  the  long  black  and  white  gallery  adjoining  the 
Liljefors’  room.  Mrs.  Anna  Boberg’s  pictures, 
in  a very  small  gallery  at  the  eastern  end  of 
this  section,  are  not  advantageously  hung.  Her 
work  is  so  decorative,  and  so  painted  for  distant 
effect,  that  to  see  it  close  at  hand  is  disappoint- 
ing. The  eleven  of  her  pictures  are  unusual  in 
subject  and  for  that  reason  win  less  sympathy 
than  they  deserve.  All  of  them  were  painted 
on  a trip  she  made  with  her  husband  to  the 
Lofoden  Islands,  and  when  one  considers  the 

[41] 


THE  FOREIGN  NATIONS 
proverbial  coldness  of  the  Arctic  seas,  her  inter- 
pretations seem  marvelous  in  their  beauty  and 
richness  of  colour.  A study  of  their  titles  in 
the  catalogue  seems  hardly  necessary  for  under- 
standing of  their  meaning,  and  I for  one  am 
perfectly  satisfied  to  feast  on  the  gorgeous  colour- 
ing and  the  great  veracity  they  possess.  Some 
of  them  are  already  sold,  a most  surprising  thing 
when  one  considers  that  to  most  people  a picture 
actually  executed  in  three  dimensions  is  seldom 
considered  meritorious.  I do  think  that  while 
the  physical  width  and  height  of  Mrs.  Boberg’s 
pictures  are  governed  by  conventional  consider- 
ations, a little  less  depth  of  paint  might  accomp- 
lish the  same  solid  appearance  without  making 
one  feel  like  slipping  sideways  past  them  into 
the  next  gallery  for  fear  of  knocking  off  a few 
lumps  of  paint. 

In  the  adjoining  gallery,  a somewhat  larger 
one  on  the  east,  Gustav  Fjaestad’s  very  fine 
decorations  form  what  we  are  in  the  habit  of 
calling  a “one-man  show.”  Mr.  Fjaestad  cer- 
tainly has  the  decorative  feeling,  whether  he 
paints  a picture  or  designs  a rug.  In  fact  all  of 
his  pictures  look  like  designs  for  rugs.  And 
why  not If  a wall  rug  is  a decoration,  a picture 
should  be  one  in  just  the  same  way.  It  is  hard 
to  single  out  among  the  many  good  examples 
the  best  one,  and  it  may  be  left  to  the  taste  of 
the  individual,  who  among  nothing  but  good 
things  cannot  make  a poor  choice.  The  time 
will  come  again  when  our  artists  will  find  it 
honourable  and  profitable  to  apply  their  talents 
to  utilitarian  art,  as  does  Fjaestad,  and  the 
interrelated  activities  of  the  Swedish  in  both 
[42] 


THE  FOREIGN  NATIONS 
fine  and  applied  arts  afford  a lesson  which  is 
by  no  means  new.  It  was  the  basic  condition 
on  which  the  art  of  the  Renaissance  flourished 
that  develops  men  like  the  Swedes. 

There  is  a big  difference  between  Liljefors 
and  Mrs.  Boberg,  or  again  between  her  and 
Fjaestad,  but  not  any  greater  than  between  all 
of  these  artists  and  John  Bauer.  John  Bauer’s 
paintings  are  exquisite,  and  even  such  abused 
adjectives  as  “sweet”  and  “delicate”  are  not 
out  of  place  when  applied  to  his  work.  I hope 
we  have  some  enlightened  person  among  us 
who  can  afford  to  buy  the  whole  batch  of  them, 
and  do  it  quickly,  before  any  more  of  them  are 
sold  singly.  It  takes  more  time  to  enjoy  these 
little  fairy  tales  than  one  can  afford  to  give  to 
them.  They  possess  everything  a good  illus- 
trative painting  ought  to  have.  A wealth  of 
ideas  imaginatively  represented,  good  drawing, 
and  intimate  feeling  tell  of  the  keen  pleasure 
the  artist  must  have  had  in  producing  these  gems. 

As  an  illustrator,  though  very  different, 
Carl  Larsson  appeals  in  a comprehensive  group 
of  pictures  in  another  gallery.  Carl  Larsson’s 
extraordinary  resourcefulness  in  getting  every- 
thing he  needs  out  of  the  confines  of  his 
home  has  for  years  been  the  cause  of  his  great 
popularity  abroad,  and  in  his  thirty-three  cheer- 
ful drawings  he  discloses  his  entire  home  life,  in 
all  the  variety  of  happenings  which  makes  mar- 
ried existence  a success.  His  drawing  is  faultless, 
his  sense  of  colour  supple  and  refreshing,  and  his 
ability  to  make  such  extensive  use  of  the  rela- 
tively narrow  atmosphere  of  his  home  without 
exhausting  it  proves  his  caliber.  Larsson  has  a 

[43] 


THE  FOREIGN  NATIONS 
roommate  of  great  distinction  and  modesty  in 
Oscar  Bergman,  who  has  contributed  some 
twenty  tender  bits  of  northern  landscapes  and 
marines.  They  are  reminiscent  of  the  Japanese, 
although  it  becomes  almost  foolish  to  think  of  the 
Japanese  every  time  someone  develops  a capacity 
for  acute  observation  and  drawing.  Bergman’s 
little  lighthouse  is  particularly  convincing  and, 
like  most  of  these  things,  should  not  be  allowed 
to  return  to  the  artist. 

I shall  probably  have  to  retrench  in  attention 
to  the  American  section  if  I keep  on  giving  pages 
to  this  section.  But  in  spite  of  their  great  merit, 
the  work  of  Kallstenius,  Schultzberg,  Carlberg, 
and  Osslund  will  have  to  go  with  only  meager 
reference.  Osslund’s  pictures  are  somewhat 
startling  at  first,  owing  to  a complexity  of  techni- 
cal treatment.  He  does  not  seem  to  be  working 
in  the  right  medium,  for  I believe  his  Japanesque 
landscapes  could  be  far  more  sympathetically 
presented  in  watercolour.  Of  the  group  com- 
prising his  work,  his  “Waterfall”,  “Summer  Even- 
ing”, and  “Evening  on  Angermann  Land”  are 
very  fascinating.  Mas-Olle’s  portraits  are  inter- 
esting not  only  for  good  technical  painting  but 
also  for  fine  characterization.  His  portrait  of  an 
old  peasant  of  Dalecarlia  is  almost  faultless.  Near 
the  Mas-Olle  portrait  Herman  Lindquist  has  a 
“Sunny  April  Day”  of  unusual  poetic  claim. 
Schultzberg’s  big  sunlit  winter  scenes  hardly 
need  recommendation  to  justify  their  increasing 
popularity.  Alfred  Bergstrom’s  poetic  land- 
scapes add  more  interest,  in  the  small  adjoining 
room  on  the  east.  Marine  pictures  by  Hullgren 
are  the  only  contributions  in  that  field,  but  quite 
[44] 


THE  FOREIGN  NATIONS 
sufficient  to  maintain  the  general  standard  of 
excellence.  The  drunken  man  seated  at  a cafe 
table  is  psychologically  interesting.  As  an 
object  lesson  to  discourage  the  consumption  of 
liquor  it  is  the  most  effective  picture  I have  ever 
seen,  and  certain  interests  would  do  well  to  buy 
it  for  that  reason  alone,  not  to  speak  of  the  relief 
this  would  afford.  Ernst  Kiisel’s  animal  pictures, 
opposite  John  Bauer’s  delightful  group,  seem 
quite  out  of  place.  His  ducks  and  the  goats  are 
satisfactory  enough,  but  I wish  he  had  to  live 
with  that  calf  picture  and  see  it  every  day. 
Kiisel  is  undoubtedly  humourously  inclined, 
without  knowing  proper  limitations. 

The  sculpture  of  the  Swedes  is  of  the  same 
unusual  excellence  that  commands  so  much  re- 
spect in  their  other  work.  Edstrom  easily  out- 
ranks his  fellow-artists  in  his  group  of  natural- 
istic and  conventional  architectural  heads,  in 
the  Liljefors  gallery,  while  in  the  long  and  nar- 
row adjoining  gallery  a multitude  of  excellent 
etchings,  drawings,  and  black  and  white  work 
compel  mention.  They  hardly  need  any  ex- 
planation, since  in  their  very  character  they 
readily  convey  their  meaning.  One  could  dwell 
at  greater  length  upon  this  most  representative 
of  all  national  displays,  but  I fear  that  it  would 
have  to  be  done  at  the  expense  of  the  American 
section,  which  hospitality  has  already  been 
placed  under  a disadvantage. 

HOLLAND 

The  Netherlands  representation  is  conspicu- 
ous for  its  conservative  note,  together  with  the 
absence  of  any  single  picture  which  might  unduly 
excite  one  by  its  merit.  I do  not  wish  to  preju- 

[45] 


THE  FOREIGN  NATIONS 
dice  the  art  lover  who  strolls  into  this  well 
appointed  section,  but  coming  from  Sweden,  as 
we  do,  so  to  speak,  since  it  is  Sweden’s  next  door 
neighbor,  it  gives  one  rather  a shock.  Most  of 
the  Dutch  pictures  are  good,  almost  too  good, 
in  their  academic  conventional  repetition  of  the 
time-worn  subjects  we  have  been  in  the  habit  of 
seeing  for  the  last  twenty  years.  The  Swedish 
section  is  full  of  real  thrills,  but  the  complacency 
of  the  Netherlands  section  can  hardly  be  ex- 
plained by  their  national  temperament  alone. 
While  the  Swedish  people  seem  to  be  blessed 
just  now  with  an  unusual  number  of  men  of 
great  gifts  in  the  field  of  art,  the  Netherlands 
have  entered  into  what  I hope  will  be  only  an 
interregnum  of  not  overly  original  painters. 
The  last  quarter  of  the  last  century  saw  their 
glory  in  the  careers  of  men  like  the  elder  Israels, 
the  Mesdags,  the  Maris,  Jacob  and  Willem,  Bos- 
bom.  Mauve,  Weissenbruch,  Poggenbeck,  and 
many  others  who  have  departed  during  the  last 
ten  years,  or  who,  if  still  living,  have  scarcely 
maintained  their  high  standards  of  earlier  days. 
The  most  illustrious  name  among  the  older  men 
is  Willem  Mesdag,  who  can  hardly  be  expected 
at  his  age  to  be  doing  his  best.  Speaking  of 
Mesdag,  one  of  their  best  marine  painters  of  the 
older  days,  one  is  forcibly  reminded  of  the  fact 
that  though  a people  of  the  sea  the  Dutch  do  not 
seem  to  possess  a single  strong  marine  painter. 
One  looks  in  vain  for  any  pictures  of  the  open 
sea  reflecting  the  seafaring  traditions  and  activi- 
ties of  the  Dutch,  and  if  it  were  not  for  Masten- 
broek’s  masterly  harbor  pictures,  one  would  have 
to  console  oneself  over  this  lack  of  the  briny 
[46] 


W s d 

^ c 


—•  «)  w 


2 > > 


THE  FOREIGN  NATIONS 
element  with  a view  of  the  Amsterdam  Marine 
Aquarium.  Mastenbroek’s  big  canvas  is  full  of 
life  and  well  painted.  It  shows  the  harbor  of 
Rotterdam  animated  by  a host  of  vessels  of  all 
kinds  and  descriptions.  While  there  is  a fine 
feeling  of  loose  accidental  arrangement  about 
this  big  picture,  it  is  nevertheless  well  composed. 
His  small  canvas  in  the  adjoining  gallery  is 
technically  superb,  and  to  my  mind  the  best 
canvas  in  the  whole  Dutch  show.  In  the  middle 
of  the  same  wall  Gorter’s  very  decorative 
autumnal  landscape,  of  a group  of  beech-trees, 
commends  itself  by  an  unusual  feeling  for  colour 
and  design,  so  lacking  in  the  two  almost  mono- 
chromatic, untemperamental  Witsens  on  either 
side.  Almost  opposite  in  the  same  gallery, 
the  most  western  in  the  Netherlands  section, 
hangs  a broadly  painted  canvas  by  Breitner,  of 
the  timber  harbor  of  Amsterdam.  It  is  not  so 
original  a subject  as  one  is  accustomed  to  see 
from  Breitner,  but  fully  deserving  of  the  best 
place  on  the  wall.  Therese  van  Duyl-Schwartze’s 
portrait  alongside  is  equal  to  her  usual  perform- 
ances, and  very  broad  in  style  and  full  of  vigor. 
Zurres’  “Don  Quixote”,  Goedvriend’s  little  can- 
vas, and  Bauer’s  “Oriental  Equestrian”  should 
all  be  mentioned  in  this  gallery. 

In  the  middle  gallery,  on  the  right  of  the  big 
Mastenbroek,  Christian  Addicks’  “Mother  and 
Child”  charms  by  its  richness  of  colouring,  while 
in  the  left  corner  hangs  a very  decorative  still- 
life  in  the  best  manner  of  such  old  Dutch  painters 
as  Hondekoeter.  Nicolaas  Bastert  has  a typical 
Dutch  canal,  and  Willy  Sluiter  a good  study  of  a 
Volendam  fisherman.  One  gallery  is  entirely 

[47] 


THE  FOREIGN  NATIONS 
devoted  to  etchings,  woodcuts,  and  mezzotints, 
and  the  standard  maintained  in  this  gallery  is 
high.  Martinus  Bauer’s  three  etchings  are 
among  the  finest  to  be  seen  anywhere  in  the 
exhibition,  and  the  work  of  Harting,  van  Ho5rt- 
ema,  and  Haverman  do  not  fall  much  below  his 
standard.  There  is  young  Israels  (Isaac)  with 
some  very  snappy  sketches.  Nieuwenkamp  is 
intensely  interesting  in  the  few  things  he  has 
there,  with  a certain  sense  of  humor  which  is  con- 
spicuous for  its  absence  in  most  Dutch  work. 
The  woodcuts  of  Veldheer  are  vital  and  unusually 
free  from  any  academic  feeling.  Considering 
the  relative  size  of  the  Netherlands,  they  have  a 
remarkably  large  number  of  artists,  but  scarcely 
of  sufficient  bigness  of  caliber  and  independence 
of  character  to  live  up  to  the  traditions  of  this 
people. 

GERMANY 

Very  modestly  tucked  away  and  surrounded 
by  art  of  the  few  remaining  neutral  nations,  in  a 
small  gallery  adjoining  Holland  and  Sweden, 
Germany  unofficially  and  probably  even  without 
her  knowledge  is  represented  by  a small  group  of 
pictures  which  after  many  adventures  reached 
the  hospitable  shores  of  California.  Originally 
exhibited  at  the  last  Carnegie  Institute  Exhibi- 
tion at  Pittsburgh,  they  found  themselves  on  the 
high  seas  on  their  return  voyage  at  the  beginning 
of  the  war,  only  to  be  captured  by  an  English 
cruiser  whose  captain  was  so  painfully  struck  by 
the  undeniable  evidences  of  German  Kultur  that 
instead  of  taking  them  to  England  he  returned 
them  to  the  United  States,  to  be  included  eventu- 
ally in  our  exhibition.  It  would  be  very  wrong 
[48] 


W H 
” s Z g gM 

OS  = o w a; 

OO  c *<  - 3 NN 

§ 2; 

r C*J 


THE  FOREIGN  NATIONS 
to  generalize  upon  the  standard  of  German  art 
from  this  small  display,  but  a number  of  these 
pictures  can  well  afford  to  go  entirely  upon  their 
own  merit. 

Ziigel’s  cattle  picture  is  a canvas  of  the  first 
order,  by  one  of  the  very  important  modern 
animal  painters,  a man  whose  fame  has 
penetrated  into  all  lands  where  art  is  at  all  culti- 
vated. The  silvery  light  of  a summer  morning, 
filtering  through  overhanging  willow-trees  upon 
the  backs  of  a few  Holstein  cows,  is  full  of 
life  and  admirably  loose  in  its  treatment. 
Above  Ziigel,  Leo  Putz,  another  Munich  man, 
has  a lady  near  a pond,  broadly  painted,  and 
executed  in  the  peculiar  Putz  method  of  square, 
mosaic-like  paint  areas  which  melt  into  a soft 
harmony  of  tender  grays  and  greens.  Stuck’s 
“Nocturne”  is  affected  and  unconvincing  and 
scarcely  representative  of  this  master’s  style. 
The  many  other  men  give  a good  account  of 
themselves,  particularly  Curt  Agthe,  whose 
classic  “Nude  at  the  Spring”  is  of  wonderful 
surface  quality.  Wenk  has  an  Italian  marine 
and  Benno  Becker  a landscape  from  the  same 
country.  Gohler’s  “Castle  Terrace”  has  a par- 
ticularly fine  sky  and  a true  rococo  atmosphere. 
Hans  von  Volkmann’s  “Field  of  Ripe  Grain”  is 
typical  of  this  Karlsruhe  painter,  whose  stone 
lithographs  have  given  German  art  a unique 
place  in  the  art  of  the  world. 


[49] 


THE  UNITED  STATES 


Almost  one-third  of  the  entire  Fine  Arts 
L Palace  is  occupied  by  the  art  of  the  United 
States,  and  considering  the  privileges  it  en- 
joys, we  have  no  reason  to  offer  any  excuses. 
One  thing  should  be  said,  a fact  which  must  force 
itself  immediately  upon  any  careful  observer — 
that  we  have  been  very  hospitable  to  the  foreign 
nations  at  the  loss  of  our  own  physical  comfort. 
The  growing  demand  from  some  of  the  foreign 
nations  for  more  space  than  originally  applied  for 
has  crowded  the  American  section  in  some  in- 
stances into  rather  uncomfortable  conditions. 
On  the  other  hand  we  do  not  seem  to  have 
acquired  such  attractive  ways  of  hanging  our 
pictures  as  the  Swedes,  Hollanders,  or  Italians 
practice;  probably  for  lack  of  funds.  At  any 
rate  the  American  section  looks  very  businesslike 
and  very  democratic,  without  all  the  frills  and 
fancies  of  other  nations,  where  every  psycholog- 
ical advantage  has  been  taken  in  order  to  make 
things  palatable.  We  have  even  been  criticized 
for  our  lack  of  spaciousness  in  hanging,  but  let 
us  not  grieve  over  this,  since  it  does  at  least  save 
steps  in  walking  from  one  picture  to  the  next. 

Gallery  60.  Our  historical  section  is  largely 
a mausoleum  of  portraits  which  really  have  no 
other  excuse  for  existence  than  historical  interest, 
unless  one  excepts  the  always  excellent  portraits 
[50] 


THE  UNITED  STATES 

of  Gilbert  Stuart,  who  certainly  stands  out  in 
all  that  dull  company  of  his  fellow-painters  of 
his  own  time.  He  is  about  the  only  one  who 
can  claim  professional  standards  of  workman- 
ship as  well  as  lifelike  characterization  of  his 
sitters.  His  group  of  pictures  on  wall  A does 
his  great  talent  full  justice.  The  mellow  rich- 
ness of  the  portrait  of  General  Dearborn  stands 
out  as  a fine  painting  among  the  many  hard  and 
black  historical  documents  in  this  gallery.  The 
Captain  Anthony  portrait  above  is  not  less 
important.  I think  his  technical  superiority 
and  breadth  of  manner  must  be  doubly  appre- 
ciated when  one  considers  the  absence  of  any 
artistic  inspiration  in  this  country  in  Stuart’s 
time,  although  he  had  the  advantage  of  several 
lengthy  visits  abroad,  where  he  was  received 
with  approval  by  profession  and  public  alike. 
Most  other  portraits  in  this  gallery  are  lacking 
in  any  individual  note  and  are  hopelessly  stiff  and 
academic  in  colour.  Not  even  the  very  apparent 
influence  of  the  great  English  portrait  masters 
of  their  time  could  save  them  from  mediocrity. 
The  only  pictures  worth  excepting  from  this 
classification,  outside  of  the  Stuarts,  are  Charles 
Elliott’s  “Colonel  McKenney”  and  S.  B.  Waugh’s 
portrait  of  Thorwaldsen,  the  Danish  sculptor. 

Gallery  59.  In  an  adjoining  gallery  toward 
the  north,  our  chronological  investigations  bring 
us  into  an  atmosphere  of  story-telling  pictures 
of  the  most  pronounced  Diisseldorf  and  Munich 
styles.  This  period  has  always  been  the  source 
of  delight  to  the  populace,  which  has  no  concern 
in  the  technical  qualities  of  a picture,  a conten- 
tion which  led,  more  than  anything  else,  to  the 

[51] 


THE  UNITED  STATES 
healthy  reaction  we  now  enjoy  as  the  modern 
school.  The  sentimental  tone  of  most  of  these 
pictures  and  their  self-explanatory  illustrative 
motives  no  doubt  make  them  easily  the  lazy 
man’s  delight,  but  I cannot  help  feeling  that 
most  of  their  themes  could  much  more  success- 
fully be  approached  through  literature  than 
through  the  painter’s  art.  Most  of  them  explain 
themselves  immediately,  and  those  which  do  not 
are  helped  along  by  descriptive  titles  fastened 
to  the  frames,  as  the  taste  of  that  school  de- 
mands. The  great  men  of  this  school  in  Ger- 
many were  primarily  great  painters.  Men  like 
Defregger,  Knaus,  Vautier,  Griitzner,  Kaulbach, 
and  others  will  always  command  high  respect 
by  their  technical  achievements,  no  matter  how 
we  may  disagree  with  their  choice  of  subjects. 
The  really  worthy  ones  we  have  produced  in 
this  field  of  genre  painting  are  to  be  found  in 
other  galleries  and  are  represented  by  men  like 
Hovenden,  Currier,  and  Johnson.  The  only 
real  painting  among  the  many  figure  pictures 
in  this  gallery  is  Peter  Frederick  Rothermel’s 
“Martyrdom  of  St.  Agnes.”  Very  rich  in  colour 
and  big  in  composition,  it  compels  great  respect. 

We  have  now  reached  the  middle  of  the  last 
century,  when  the  influence  of  the  Barbizon 
school  asserted  itself  and  caused  increasing 
interest  in  landscape  painting,  a field  which 
up  to  that  time  had  been  mixed  up  with  historical 
motives,  as  in  a typical  composite  canvas  by 
Cole  (Thomas),  who  generally  ranks  as  the  most 
important  of  the  Hudson  River  School  of  land- 
scape painters.  There  is  really  not  enough 
artistic  moment  to  this  American  group  to 
[52] 


“THE  MIRROR’* 

FROM  THE  OIL  PAINTING,  BY  DENNIS  MILLER  BUNKER 

GALLERY  54 


THE  UNITED  STATES 

dignify  it  by  the  name  of  a school.  For  histo- 
rical reasons,  however,  this  classification  is  very 
convenient.  Cole’s  four  sketches  for  the  “Voyage 
of  Life”  show  strong  imagination,  giving  the 
impression,  however,  that  he  was  more  inter- 
ested in  mythology  than  in  the  art  of  painting. 

The  first  intimation  of  a really  original  step 
in  American  outdoor  painting,  as  based  on  the 
discoveries  of  the  school  of  1825,  the  Barbizon 
school,  one  receives  in  this  gallery  in  a number 
of  small  canvases  by  some  of  the  men  we  have 
chosen  to  classify  as  the  painters  of  the  Great 
West.  Into  this  group  are  put  Thomas  Moran, 
Thomas  Hill,  and  Albert  Bierstadt.  They  are  so 
very  closely  identified  with  the  West  that  they 
are  of  particular  interest  to  us.  Their  artistic 
careers  were  as  spectacular  as  their  subjects. 
Stirred  by  the  marvelous  tales  of  the  great  scenic 
wonders  of  the  West,  they  heroically  threw 
themselves  into  a task  that  no  artist  could 
possibly  master.  They  approached  their  gigan- 
tic subjects  with  correspondingly  large  canvases, 
without  ever  giving  the  essential  element  of 
their  huge  motives,  namely,  a certain  feeling  of 
scale,  of  monumentality,  as  compared  to  the 
pigmy  size  of  the  human  figure.  Really  great 
pictures  of  the  Yellowstone,  the  Grand  Canon, 
and  the  lofty  mountain-tops  still  remain  to  be 
painted.  The  daring  and  courage  of  these  men 
has  benefited  our  art  very  much  in  a technical 
sense.  The  study  of  panoramic  distances  and 
the  necessity  for  closely  observing  out-of-doors 
new  subjects  which  could  not  be  studied  in  the 
work  of  other  painters,  led  to  a facility  in  the 
handling  of  paint  which  really  constitutes  the 

[53] 


THE  UNITED  STATES 
chief  merit  of  these  artists.  In  this  gallery  (59) 
two  small  outdoor  sketches  by  Thomas  Hill 
give  a good  suggestion  of  this  Californian’s  great 
dexterity  in  handling  paint.  His  career  has 
been  so  closely  identified  with  the  Yosemite 
Valley,  where  he  lived  and  died,  that  these  two 
sketches  will  serve  as  a reminder  of  the  very 
faithfully  studied  larger  pictures  he  for  many 
years  produced.  Peter  Moran,  a brother  of 
Thomas,  has  a cattle  picture  in  this  gallery 
which  needs  the  backing  up  of  the  reputation 
of  the  whole  Moran  family  to  be  accepted. 

Gallery  58.  Chronological  order  is  not 
entirely  maintained  in  gallery  58,  where  two 
large  Bierstadt  pictures  are  in  control.  Bier- 
stadt,  with  all  of  his  good  painting,  does  not  get 
any  nearer  the  real  spirit  of  the  lofty  mountain- 
tops  than  all  the  others  of  this  school.  Big  and 
earnest  as  his  efforts  were,  they  fall  short  of 
real  achievement,  not  so  much  for  his  lack  of 
outdoor  colour  as  for  the  misunderstanding  of 
what  is  possible  in  art  and  what  is  impossible. 
Another  landscape  in  this  gallery,  belonging  to 
the  contemporary  school,  however,  is  Henry 
Joseph  Breuer’s  “Santa  Inez  Mountains”.  It  is  a 
faithful  study  of  a most  difficult  subject  and 
very  successful  in  its  big  feeling,  in  spite  of  the 
introduction  of  great  detail.  It  is  easily  the 
best  Breuer  in  the  collection.  The  note  of 
variety  in  this  gallery  is  maintained  in  several 
portraits  and  genre  pictures  of  unusual  merit. 
On  the  right  of  the  Breuer,  Thomas  Hicks’ 
Friendly  Warning  atones  for  a multitude  of 
mediocre  genre  pictures  in  the  preceding  gallery. 
Eastman  Johnson’s  “Drummer  Boy”  shows  good 
[54] 


o 

X 


M Q 


THE  UNITED  STATES 

composition,  and  J.  H.  E.  Partington’s  study  of 
a man’s  head  is  as  fine  a piece  of  painting  as 
was  ever  done  in  the  eighties. 

Gallery  64.  In  a big  central  gallery  we 
meet  the  more  meritorious  work  of  our  painters 
dependent  upon  foreign  influence.  Portraits,  genre 
pictures,  landscapes,  and  marines  tell  the  story  of 
many  individual  men  working  out  their  salvation 
in  more  or  less  original  fashion.  I have  spoken 
at  some  length  about  the  pitfall  of  genre  paint- 
ing, but  Thomas  Hovenden’s  “Breaking  Home 
Ties”  redeems  the  entire  school.  Irrespective 
of  the  fact  that  it  is  a picture  very  popular 
with  the  large  public  by  reason  of  its  senti- 
mental appeal,  it  is  well  painted,  and  it  will 
always  be  considered  a good  painting.  It  is 
devoid  of  colour,  in  the  sense  of  the  modern 
painter,  but  its  very  fluent  and  simple  technical 
character  recommends  it  highly.  Hovenden 
was  a master  of  his  trade.  Anybody  who  doubts 
this  from  his  large  canvas  can  easily  be  con- 
vinced by  studying  the  “Peonies”  to  the  left  of 
it  on  wall  C.  The  large  area  of  this  wall  is 
covered  with  six  canvases  by  Thomas  Eakins, 
showing  a variety  of  subjects.  His  “Cruci- 
fixion” is  very  good  as  an  academic  study  but 
of  no  other  interest.  In  the  “Concert  Singer” 
he  added  an  interesting  subject  to  very  admir- 
able painting.  His  other  canvases  are  all 
sincerely  studied  and  well  done,  and  they  will 
always  be  sure  of  their  place  in  the  history  of 
American  painting.  Opposite  the  “Crucifixion,” 
Church’s  “Niagara”  reminds  one  that  the  paint- 
ing of  water  involves  more  than  mere  photo- 
graphic facility.  All  that  one  can  say  about  this 

[55] 


THE  UNITED  STATES 
serious  effort  is  that  if  it  had  been  painted  under  a 
different  star  than  that  which  guided  the  paint- 
ers of  his  time  in  outdoor  studies,  it  would 
doubtless  look  more  like  water.  Another  canvas 
on  the  right,  a marine  by  Richards,  has  the  same 
feeling  for  drawing  without  showing  any  under- 
standing of  either  texture  or  atmosphere. 
The  old  and  the  new  overlap  in  this  gallery  by 
the  inclusion  of  some  of  Remington’s  paintings 
and  also  of  a few  pieces  of  sculpture.  Reming- 
ton’s paintings  will  never  be  classified  as  any- 
thing but  very  good  illustrations,  and  in  the 
company  of  easel  pictures  they  look  much  out 
of  place.  Their  interest  is  only  of  a passing 
kind.  His  sculpture  is  lacking  in  repose  and 
looks  wild  and  ill-mannered  in  the  presence  of 
the  older  things.  Homer  Martin’s  appeal,  in 
two  big  landscapes  on  the  same  wall,  may  not 
be  very  immediate,  but  a serious  contemplation 
of  these  big  and  noble  landscapes  will  make 
them  reassuringly  sympathetic.  Martin’s  pic- 
tures are  not  exhibition  pictures.  They  suffer 
in  an  exhibition  which  is  after  all  as  much  of  a 
specimen  show  of  conflicting  varieties  as  a 
display  of  canned  goods  in  the  Food  Palace. 
Martin,  while  never  having  enjoyed  the  popu- 
larity of  an  Inness,  will  always  rank  as  high 
as  any  of  our  best  interpreters  of  the  Barbizon 
school. 

Gallery  54.  We  have  to  go  over  into  this 
gallery  in  order  to  get  the  full  meaning  of  that 
great  company  of  men  who  had  something 
which  is  so  difficult  to  discover  in  many  artists, 
namely,  style.  Inness  and  Wyant  above  ever}'^- 
thing  have  style,  a quality  which  carried  their 
[56] 


THE  UNITED  STATES 

Otherwise  not  very  original  work  above  that 
of  their  fellow-painters.  We  shall  never  tire 
of  such  canvases  as  “The  Coming  Storm,”  “The 
Clouded  Sun,”  and  the  limpid  pastorals  by 
Wyant.  They  maintain  their  position  as  classics. 
Winslow  Homer  occupies  a position  all  by 
himself.  An  entire  wail  full  of  specimens  by 
him  shows  the  evolution  of  the  man,  his  strug- 
gle with  the  problem  of  the  choice  of  sub- 
jects, and  his  technical  development,  culmi- 
nating in  that  one  really  great  theme  in  the 
center,  showing  his  studio  in  an  afternoon  fog. 
Homer’s  colour  is  always  disappointing,  even 
in  his  best,  but  his  sense  of  design  and  a 
certain  simple  restriction  to  a few  essentials 
make  up  his  chief  claim  upon  distinction. 
Dennis  Bunker’s  “Lady  with  a Mirror”  would 
scarcely  be  believed  to  belong  to  the  older 
period  of  American  art.  One  of  the  finest 
pictures  ever  produced  by  an  American  painter, 
it  yields  a most  unusual  degree  of  artistic 
pleasure.  There  is  real  distinction  about  this 
picture,  not  only  in  the  graceful  idealization  of 
the  lady,  but  also  in  the  refined  colour  scheme. 
Currier’s  art  is  very  much  like  Duveneck’s,  an 
observation  which  is  made  emphatic  by  the  fact 
that  each  one’s  masterpiece  is  a whistling  boy, 
of  great  simplicity.  After  a discussion  of  Duve- 
neck’s work,  Currier’s  artistic  antecedents  will 
easily  be  established,  so  no  more  need  be  said 
of  his  work. 

Gallery  85.  Across  the  hall  more  of  our 
academic  school  of  painters  are  grouped.  There 
is  George  de  Forest  Brush,  the  painter  of  the 
“Boston  Madonna”,  in  some  of  his  earlier  illus- 

[57] 


THE  UNITED  STATES 
trative  canvases  and  a very  fine  pre-Raphaelite 
“Andromeda”.  Brush  is  so  contradictory  at  times 
that  this  small  group  is  quite  insufficient  to  do 
him  full  justice.  Horatio  Walker  clings  per- 
sistently to  his  conviction  of  the  supremacy  of 
the  older  methods,  without  giving  any  indication 
of  contact  with  modern  art.  His  superiority 
depends  largely  upon  the  human-interest  stories 
he  tells  with  wonderful  breadth  and  sympathetic 
understanding.  Charles  W.  Hawthorne’s  can- 
vases seem  fumbled  rather  than  painted.  They 
are  very  hesitating  in  a technical  way  and  are 
not  sufficiently  endowed  with  interest  to  grip  one. 

Gallery  57.  In  another  gallery  in  this 
neighborhood,  Edwin  Abbey’s  art  is  presented 
very  comprehensively  in  a number  of  large  and 
small  illustrations— canvases  of  more  than  pass- 
ing interest.  While  they  are  largely  illustra- 
tions, their  interest  is  made  permanent  by  reason 
of  the  subjective  note  which  all  of  them  have. 
Abbey’s  intense  imagination  allowed  him  to 
carry  a convincingness  into  his  work  which  is 
largely  responsible  for  the  very  high  rank  he 
attained.  His  art  is  not  the  art  of  an  American 
in  any  sense.  It  is  true  he  was  born  in  Phila- 
delphia, but  a long  and  successful  life  spent  in 
Europe  has  left  on  his  work  the  imprint  of  an 
aristocracy  foreign  to  our  interest.  In  design, 
in  colour.  Abbey’s  work  is  always  supremely 
interesting,  and  with  the  astonishing  develop- 
ment of  illustration  in  America,  it  seems  in- 
credible that  we  should  not  have  been  able  to 
make  him  return  to  the  land  of  his  birth. 

Galleries  55  and  56  are  modern  in  aspect  and 
their  contents  came  into  this  part  of  the  building 
]58] 


‘■LAVENDER  AND  OLD  IVORY” 

FROM  THE  OIL  PAINTING,  BY  LILIAN  WESTCOTT  HALE 
GALLERY  80 


THE  UNITED  STATES 

for  practical  reasons.  Wedged  in  between  older 
periods,  it  is  difficult  to  combine  them  with  the 
rest  of  modern  American  art,  largely  repre- 
sented in  the  north  side  of  the  Palace. 

Gallery  56.  Here  two  interiors  in  dis- 
tinctly different  styles  stand  out  among  the  mul- 
titude. Marion  Powers  and  Elizabeth  Nourseadd 
considerably  to  the  achievement  of  our  women 
artists  in  these  well-painted  canvases.  Miss 
Powers  is  very  original  in  an  older  school,  while 
Miss  Nourse  displays  all  the  technical  dexterities 
of  the  present  day.  Hitchcock’s  “Dutch  Tulip 
Beds,”  with  figural  staff  age,  remind  one  of  a most 
original  American  who  after  a long  struggle  estab- 
lished himself  with  these  colourful  designs.  His 
recent  death  came  entirely  too  soon. 

Gallery  55.  This  room  is  intensely  ani- 
mated by  Potthast’s  six  seashore  sketches,  which 
are  well  composed  and  very  sympathetic  in  their 
fine  sunlight.  Evelyn  McCormick’s  “Monterey 
Custom  House”  is  no  less  sunny,  and  conscien- 
tiously studied  in  detail. 

Gallery  63.  Of  particular  interest  are  the 
pictures  in  this  gallery,  constituting  an  achieve- 
ment which  few  other  nations  could  rival. 
Devoted  exclusively  to  the  work  of  living 
American  women  artists,  it  contains  convincing 
evidences  of  the  good  results  which  the  emanci- 
pation of  women  in  this  country  allowed  them 
to  accomplish  in  the  field  of  art.  The  standard 
in  this  gallery  is  very  high,  and  one  must  admit 
that  Mr.  Trask’s  daring  innovation  of  putting 
all  the  women  artists  in  one  big  gallery  was 
justified.  They  do  hold  their  own,  and  they  do 
not  need  any  male  assistance  to  convince  one  of 

[59] 


THE  UNITED  STATES 
their  big  part  in  the  honors  of  the  exhibition. 
On  two  opposing  walls,  Mary  Cassatt  and  Cecilia 
Beaux  give  full  expression  of  their  very  vital 
work.  Miss  Beaux’s  work  is  compelling  in  its 
vigorous  technique,  fine  colour,  and  daring  com- 
position. Her  study  in  purple  and  yellow  is  bold 
and  unusually  successful.  On  other  walls  more 
portraits  by  Ellen  Emmet  Rand  continue  to  hold 
our  attention,  particularly  the  little  girl  and  the 
black  cat.  The  portraits  of  our  women  painters 
are  all  far  more  original  in  composition  and  colour 
arrangement  than  those  of  the  men.  Mary 
Cassatt’s  reputation  is  so  universally  established 
as  not  to  need  any  introduction.  Her  art  is 
more  French  in  the  many  tone  gradations  of 
atmosphere  than  that  of  her  American  colleagues 
who  are  more  decorative.  Among  others  Jean 
McLane,  Mr.  Johansen’s  wife,  and  Annie  Lang 
excel  in  a certain  breadth  of  style;  while  Mrs. 
Richardson  charms  by  the  sympathetic  render- 
ing of  the  pride  and  happiness  of  the  young 
mother.  The  composition  of  this  picture,  while 
it  is  unusual,  is  successfully  managed.  The 
impression  one  gains  from  this  large  gallery  is 
most  satisfying  in  every  way.  The  many 
portraits  done  by  men  seen  in  various  galleries 
of  the  exhibition  would  scarcely  make  as  good  a 
showing  in  a group  as  the  work  of  the  women, 
and  it  was  very  wise  not  to  attempt  it. 
ONE-MAN  ROOMS 

An  approach  to  the  rest  of  the  American 
section  might  be  made  through  the  one-man 
rooms,  and  since  we  are  on  the  south  side,  and 
for  other  perfectly  good  reasons-not  the  least, 
that  of  importance-we  might  start  with  Whistler. 

[60] 


THE  UNITED  STATES 

Gallery  28.  Whistler.  No  gallery  re- 
flects so  much  the  really  serious  artist,  in  his 
eternal  struggle  to  express  himself  simply  and 
exhaustively  in  line,  form,  and  colour,  as  does 
this  Whistler  group.  A feeling  of  dissatisfaction, 
expressed  by  many  indications  of  experimen- 
tation and  change,  of  searching  for  the  right 
line,  is  clearly  indicated  in  all  of  these  paintings. 
He  often  gives  you  a chance  to  choose  between 
a number  of  tantalizing  forms  and  lines.  It  is 
very  apparent  that  he  set  himself  a high,  almost 
an  unattainable  standard,  toward  which  he 
worked  with  varying  success.  His  emotions 
must  have  been  constantly  swinging  between  the 
greatest  heights  of  joy  and  the  abyss  of  despair. 

The  numerous  Whistlers  in  this  gallery  show 
him  in  many  periods  and  many  styles.  On 
wall  D,  at  the  lower  right,  a portrait  of  an 
auburn  girl,  one  of  his  many  fascinating  models, 
shows  Whistler  more  as  a pure  painter  than  any 
of  the  other  canvases.  This  doubtless  belongs 
to  the  period  when  he  was  under  Courbet’s 
influence.  The  richness  of  pure  paint,  dexter- 
ously applied,  is  scarcely  found  in  the  many 
portraits  on  the  same  wall,  in  which  a certain 
thinness  of  paint  is  too  much  in  evidence,  no 
matter  how  distinguished  and  suggestive  these 
canvases  are.  His  sense  of  composition,  of  the 
placing  of  areas  of  different  tones  and  colour, 
is  markedly  evident  in  all  of  his  work,  no  matter 
how  experimental  and  casual  it  may  be.  The 
“Falling  Rocket”  is  the  most  wonderful  example 
of  this  quality  of  design.  If  it  is  true  that  it  hung 
for  weeks  upside  down  in  the  present  owner’s 
house,  then  most  decidedly  this  fact  speaks  well 

[61] 


THE  UNITED  STATES 
for  its  excellent  quality  of  design,  irrespective 
of  its  pictorial  meaning.  The  many  small  sparks 
descending  rhythmically  from  an  impenetrable 
sky  are  carefully  considered  in  their  relative 
position  and  size  so  as  to  insure  that  feeling  of 
pattern  which  he  almost  instinctively  gave  to 
everything  he  did.  This  picture  of  the  “Falling 
Rocket”  is  of  particular  interest  as  the  picture 
which  made  John  Ruskin,  the  Slade  Professor 
of  Art  at  Oxford,  accuse  Whistler  of  flinging  a 
pot  of  paint  at  the  face  of  the  public  and  having 
the  impudence  of  a coxcomb  to  ask  two  hundred 
guineas  for  it.  Surely  this  carefully  and  cleanly 
painted  picture  shows  Whistler  as  hardly  a 
flinger  of  paint,  and  we  can  only  rejoice  over 
the  kind  fate  which  saved  Mr.  Ruskin  from 
extending  his  career  into  the  present  age  of 
paint  flingers,  who,  had  they  lived  in  his  day, 
would  have  proved  fatal  to  the  learned  pro- 
fessor. The  farthing  damages  which  Whistler 
received  in  a mock  trial  were  scarcely  as  valuable 
as  the  universal  admiration  this  picture  receives. 

There  never  was  a painter  who  manipulated 
paint  with  more  regard  for  the  medium  than 
did  Whistler.  His  portrait  of  Mrs.  Milicent 
Cobden  has  a noble  beauty  of  restraint.  It 
is  very  sensitively  painted,  and  tender  almost 
to  the  point  of  thinness.  It  fascinates  in 
its  subtle  appeal,  which  the  observer  is  induced 
to  supplement  by  his  own  emotion.  This  qual- 
ity of  subtlety  is  the  one  attribute  w'hich 
makes  his  work  so  beloved  by  the  artist  and 
so  difficult  of  understanding  for  the  layman, 
who,  try  as  he  may,  is  not  equipped  with  suffi- 
cient technical  insight  to  do  Whistler’s  paintings 
[62] 


“GREEN  AND  VIOLET*' 

PORTRAIT  OF  MRS.  E.  MILICENT  COBDEN 

FROM  THE  OIL  PAINTING,  BY  JAMES  MCNEILL  WHISTIER 

GALLERY  28 


.1 


.1 

■J 
' « 


i 


'i 


THE  UNITED  STATES 

full  justice.  Uneven  as  his  work  is,  as  every 
painter  admits,  it  will  always  be  more  and  more 
cherished  by  the  profession  and  remain  more  or 
less  of  a mystery  to  the  puzzled  public,  who 
would  like  to  follow  this  painter  into  the  realm 
of  his  interests. 

The  six  figural  compositions  on  the  opposite 
wall  show  Whistler  as  concerned  with  design 
pure  and  simple,  rather  than  meaning  or 
psychological  expression.  They  are  beautiful 
for  the  fragrant  looseness  of  their  spacing  of 
delightful,  tender  areas  of  neutralized  colour, 
emphasized  here  and  there  by  a stronger  note 
of  vermilion.  Things  like  these  express  his 
attitude  far  more  than  any  other  thing  he  ever 
did.  They  show  his  understanding  of  the 
fundamentals  of  painting — a small  part  in  the 
whole  unity  of  beauty  of  which  the  world  con- 
sists. His  work  as  a painter  is,  after  ail,  neg- 
ligible in  comparison  with  the  principles  he 
preached  by  his  many  artistic  activities.  His 
historical  position,  as  time  goes  on  and  as  his 
associates  die,  becomes  more  and  more  mystical, 
and  even  at  this  moment  his  personality  has 
assumed  an  almost  mythological  character. 

Gallery  93.  Twachtman.  It  is  not  a far 
cry  to  Twachtman,  who  presents  a peculiar 
combination  of  Whistlerian  tonality  with  the 
methods  of  the  modern  impressionist.  His 
work  is  relatively  high  in  key,  and  devoid  of  any 
colour  resembling  black.  The  covered  skies  of 
early  morning,  before  the  breaking  through  of 
the  sun,  are  his  chief  motives.  Snow  plays 
also  an  important  part  in  his  work,  which  is 
most  suggestive  in  the  tender  beauty  of  the 

[63] 


THE  UNITED  STATES 
few  values  and  colours  it  is  composed  of.  There 
is  absolutely  nothing  of  the  sensational  about 
his  work.  To  most  people  of  not  sufficient 
interest  on  first  acquaintance,  on  better  famil- 
iarity they  yield  to  the  serious  student  and 
sympathetic  lover  of  nature  unlimited  pleasure. 
His  poetry  is  of  the  true  sort,  and  in  finished 
work  like  “October”,  “View  on  the  Brette”, 
“Bridge  in  Spring”,  and  “Greenwich  Hills”,  he 
rises  to  a very  high  level. 

Manship’s  small  statuettes  are  very  effective 
features  of  this  gallery.  Their  linear  decorative 
architectural  quality  has  put  Manship  into 
the  front  rank  of  our  younger  men,  and  he  will 
have  no  trouble  to  maintain  his  place. 

Gallery  89.  Tarbell.  In  an  adjoining 
gallery,  Edmund  Tarbell  is  much  more  striking, 
in  a number  of  canvases  containing  certain 
qualities  which  easily  account  for  the  great 
popularity  he  justly  enjoys  as  one  of  the  best 
of  our  American  painters.  To  the  student  of 
pictures  who  does  not  care  whether  they  are 
well  painted  or  not,  they  are  intensely  inter- 
esting subjects,  reflecting  the  happy  domestic 
atmosphere  of  the  painter’s  home,  which  has 
furnished  him  for  years  inexhaustible  material 
for  many  delightful  interpretations  of  similar 
subjects.  This  ability  to  produce  so  many 
things  of  equal  excellence  in  a relatively  small 
circle,  in  one  way  proves  his  greatness.  In  the 
last  analysis,  he  has  practically  everything  in 
his  work  one  looks  for  in  a work  of  art.  In 
addition  to  having  an  easily  understood  idea,  his 
pictures  are  well  composed,  without  showing  the 
consciousness  of  it,  as  does  Whistler.  Fine 
[64] 


“THE  DREAMER” 

FROM  THE  OIL  PAINTING,  BY  EDMUND  C.  TARBELL 

GALLERY  89 


v' , Ti 


THE  UNITED  STATES 

in  colour  and  handling,  beside  the  idealization 
of  everything  he  includes  in  his  work  he  achieves 
a certain  something  which  we  recognize  as  style. 
He  may  be  a realist  in  every  sense,  but  he  shows 
how  to  deal  arbitrarily  with  his  figures  in  such 
a way  as  to  endow  them  with  admirable  dis- 
tinction, without  losing  the  expression  of  reality. 
His  recent  outdoor  work  has  not  the  unity  of 
expression  of  his  indoor  subjects.  It  is  difficult, 
and  not  really  necessary,  to  single  out  any  work 
in  a one-man  representation  of  unusual  uni- 
formity of  excellence.  Every  one  of  his  pictures 
has  the  earmarks  of  having  been  carefully 
studied. 

Bela  Pratt’s  statue  of  Nathan  Hale  is  much 
less  academic  than  the  other  sculptures  ar- 
ranged in  this  gallery.  Compared  with  the 
high  standard  of  American  small  plastic  art  his 
works  are  somewhat  dry,  though  always  con- 
scientiously done. 

Gallery  88.  Redfield.  As  a realistic 
painter  of  the  outdoors,  E.  W.  Redfield  holds 
an  enviable  position  in  the  field  of  American  art. 
He  is  the  painter  par  excellence,  without  making 
any  pretension  at  being  anything  else.  The 
joy  of  putting  paint  on  canvas  to  suggest  a 
relatively  small  number  of  things  which  make  up 
the  great  outdoor  country,  like  skies,  distance, 
and  foregrounds,  is  his  chosen  task.  He  is  the 
most  direct  painter  we  have.  With  a heavily 
loaded  brush,  without  any  regard  for  anything 
but  immediate  effect,  he  expresses  his  landscapes 
candidly  and  convincingly.  He  is  plain-spoken, 
truthful,  free  from  any  trickery — as  wholesome 
as  his  subjects.  His  a la  prima  methods  em- 

[65] 


THE  UNITED  STATES 
body,  to  the  professional  man,  the  highest 
principle  of  technical  perfection,  without  falling 
into  a certain  physical  coarseness  so  much  in 
evidence  in  most  of  our  modern  work.  His 
sense  of  design  is  keen,  without  being  too 
apparent,  and  the  impression  one  gains  from  his 
works  is  that  they  are  honest  transcriptions  of 
nature  by  a strong,  virile  personality.  Winter 
subjects  predominate  in  his  pictures,  and  he 
expresses  them  probably  more  convincingly  than 
others — though  his  Autumn  is  marvelous  in  its 
richness  of  colour,  and  in  the  two  night  effects 
of  New  York  he  shows  his  acute  power  of 
observation  in  two  totally  different  subjects. 
His  art  is  altogether  most  refreshing  and  free 
from  all  artificialities. 

Gallery  87.  Duveneck.  Paradoxical  as 
it  may  seem,  Duveneck’s  art  is  carried  by  the 
same  painter-qualities  found  in  Redfield.  From 
his  dark  colour  it  is  self-evident  that  he  belongs 
to  an  older  German  school — a school  which  has 
been  superseded  in  the  affection  of  Americans 
by  French  methods.  We  know  relatively  little, 
entirely  too  little,  about  the  generous  methods 
of  the  best  men  of  the  Munich  school,  of  which 
Duveneck  is  so  conspicuous  a member.  His 
importance  in  the  history  of  art  can  hardly  be 
set  too  high,  for  the  soundness  of  his  methods 
alone.  Only  the  greatest  ever  attain  the  ca- 
pacity for  direct  painting  which  characterizes 
this  astonishing  collection  of  his  pictures.  Juici- 
ness is  the  only  word  which  will  adequately 
express  the  result  of  his  brush.  The  pictures 
here  are  most  interesting  for  the  reason  that 
they  were  all  done  while  he  was  not  yet  twenty- 
[66] 


“WHISTLING  BOY” 

FROM  THE  OIL  PAINTING,  BY  FRANK  DUVENECt 

GALLERY  87 


THE  UNITED  STATES 

five  and  while  he  lived  in  an  atmosphere  of 
workers  of  whom  Leibl  was  probably  the  most 
famous.  There  are  only  few  paintings — and 
then  only  the  greatest — which  give  one  the  same 
satisfaction  at  a big  distance  as  well  as  at  close 
range  as  Duveneck’s  do.  Men  of.  his  caliber 
appear  only  at  great  intervals.  This  Duve- 
neck  collection,  if  brought  together  permanently, 
as  we  are  fortunate  enough  to  see  it  temporarily 
here  in  San  Francisco,  would  become  the  Mecca 
of  all  painters  who  want  to  refresh  their  memory 
as  to  what  constitutes  real  painting.  Unfor- 
tunately these  canvases  are  owned  by  different 
people,  and  to  think  that  they  will  all  have  to 
be  scattered  again  among  individual  owners  is 
a shocking  thought.  The  uniformity  of  excel- 
lence in  the  Duvcneck  room  forbids  any  attempt 
at  picking  out  individual  works;  however, 
Duveneck’s  equally  great  accomplishments  on 
another  wall,  in  the  field  of  etching,  are  apt  to 
be  easily  overlooked.  The  sarcophagus  of  his 
wife,  done  by  his  versatile  hand,  increases  the 
admiration  that  we  must  hold  for  this  liberal 
genius.  Duveneck’s  art,  no  matter  how  much 
it  is  rooted  in  foreign  soil,  will  forever  make  its 
influence  felt  for  the  best  of  American  art. 

Gallery  77.  Chase.  Balancing  Duveneck’s 
gallery  on  the  south,  William  M.  Chase  continues 
the  Munich  traditions,  in  the  successful  treat- 
ment of  a variety  of  subjects  for  which  he  has 
always  been  famous.  Closely  associated  with 
Duveneck,  and  showing  all  the  rich  qualities  of 
the  Munich  men.  Chase’s  picturesque  person- 
ality finds  a reflection  in  his  subjects,  which  all 
seem  to  have  been  chosen  to  give  him  an  oppor- 

[67] 


THE  UNITED  STATE  S 
tunity  to  display  a certain  bravado  of  handling 
which  characterizes  all  of  his  work.  The  Chase 
collection  gives  a good  idea  of  the  career  of  this 
most  useful  of  all  American  painters,  who  in  an 
astonishingly  active  life  has  been  teacher,  friend, 
and  counsellor  to  hundreds  of  the  younger 
people  in  the  field  of  art.  His  life  has  been  most 
useful — always  in  the  interest  of  the  very  best, 
with  conspicuous  success  in  aiding  the  uplift  of 
American  art.  His  still-lifes  have  for  years  been 
famous  for  their  fidelity  of  interpretation  of  a 
variety  of  contrasting  things,  like  fishes,  copper 
bowls,  and  onions.  No  less  interesting  have 
been  his  portraits  of  the  great  mass  of  people  who 
have  sat  for  him.  He  has  never  been  afraid  of 
painting  anything,  and  whatever  it  may  be,  he 
has  treated  it  with  great  breadth,  fine  pictorial 
feeling,  and  charm  of  colour.  His  “Woman  with 
the  White  Shawl”  has  become  a classic  during  his 
lifetime,  and  some  of  his  still-lifes  are  sufficient 
to  serve  as  a permanent  solid  foundation  for  his 
reputation.  Chase’s  art,  while  decidedly  aca- 
demic, excels  in  esprit^  in  a certain  elegant  yet 
energetic  expression  which  after  all  is  nothing 
but  the  painter’s  own  personality  reflected  in  his 
work.  The  delightful  set  of  small  landscapes  of 
Italian  and  American  subjects  adds  much  in- 
terest in  this  collection,  which  is  very  well  hung 
against  an  effective  blue  background. 

Gallery  78.  Hassam.  Childe  Hassam’s 
art  at  first  is  very  disconcerting,  particularly 
under  a strong  midday  light.  One  has  at  first 
the  feeling  that  a religious  adherence  to  a certain 
impressionistic  technique  is  of  more  importance 
to  him  than  anything  else.  Entering  his  gallery 
[68] 


‘‘SELF  PORTRAIT” 

FROM  THE  OIL  PAINTING,  BY  WILLIAM  MERRITT  CHASE 
GALLERY  79 


THE  UNITED  STATES 

from  the  Chase  collection,  one  is  almost  overcome 
with  the  contrast  of  light  and  dark  presented  by 
these  two  masters.  The  contrast  of  the  classic 
academic  atmosphere  of  Chase’s  room  shows 
Hassam  pronouncedly  as  the  most  radical  im- 
pressionist we  have.  His  interest  is  light,  and 
always  more  light,  vibration  at  any  cost ; which 
contrasted  with  Chase’s  art,  or  for  that  matter 
anybody’s  else,  Duveneck’s,  or,  for  instance, 
even  Whistler’s,  becomes  almost  irritating  in  its 
lack  of  simple  surfaces.  He  does  not  eliminate 
in  the  sense  of  the  older  men,  who  care  more  for 
a unity  of  expression  than  for  an  approximation 
to  the  actual  outdoors.  There  is  sunlight  in 
his  work,  without  a doubt,  but  it  is  not  always 
spread  over  agreeable  subjects.  The  wooden 
quality  of  his  figures  and  the  frugal  aspects  of 
his  fruit,  to  us  Californians  are  particularly 
painful.  Of  all  his  oils  in  this  gallery  the  two 
on  either  side  of  the  “Aphrodite”  on  the  east  wall 
are  by  far  the  best.  In  them  he  succeeds  in 
carrying  his  point  agreeably  and  convincingly. 
They  are  both  lovely  in  colour,  and  they  give 
you  the  feeling  of  having  been  well  studied. 
The  two  groups  of  watercolours  and  gouaches 
on  the  side  walls  are,  with  the  exception  of  a 
wash  blue  sea,  very  discreet  in  quality  of  paint 
and  most  intimate  in  feeling,  and  to  my  mind  do 
Hassam  more  credit  than  the  many  other  can- 
vases, which  seem  to  be  painted  for  expound- 
ing a technical  principle  rather  than  to  reveal 
his  innermost  feelings. 

Gallery  77.  Gari  Melchers.  Melchers’ 
style  is  much  more  sympathetic  than  Hassam’s 
without  being  less  personal.  Of  modern  painters 

[69] 


THE  UNITED  STATES 
I confess  to  a particularly  great  fondness  for 
Melchers’  art.  While  standing  firmly  on  classic 
tradition,  it  is  modern  in  every  sense.  One  can 
say  everything  of  good  and  find  little  fault  with 
any  of  these  most  conscientiously  painted  can- 
vases which  make  up  his  contribution  to  the 
exhibition.  Beginning  with  his  “Fencing  Master”, 
one  of  his  older  works,  he  shows  in  a great 
number  of  similar  subjects  his  loyalty  to  Egmond 
aan  den  Hoef,  a little  Dutch  village  where  he  has 
worked  for  years.  The  quality  of  pattern  and 
colour  in  his  work  is  very  pronounced,  and  this, 
combined  with  a fine  psychology,  makes  his 
work  always  interesting.  He  is  no  radical;  the 
best  as  he  sees  it  in  any  school  he  has  made  sub- 
servient to  his  purpose  without  any  loss  of  indi- 
viduality. His  pictures  yield  much  pleasure  to 
public  as  well  as  to  artist,  even  in  sentimental 
stories  like  the  “Sailor  and  His  Sweetheart”,  or  the 
“Skaters”.  His  finest  note  he  strikes  undoubtedly 
in  the  many  sympathetic  glorifications  of  mother- 
hood in  his  fine  modern  Madonnas.  These  works 
will  be  the  sure  foundation  of  his  fame.  No 
matter  whether  he  calls  them  “Madonna  of  the 
Fields”,  “Maternity”,  or  simply  “Mother  and 
Child”,  he  presents  this  greatest  of  all  subjects  as 
few  have  ever  done.  His  art  is  wholesome  and 
sane,  but  endowed  with  a subtle  quality  of  insight 
into  his  subjects  that  will  always  assure  him  a 
very  high  place  in  the  history  of  art.  For  years 
he  has  been  one  of  the  reliable  painters  of  the 
world,  and  to  meet  with  his  work  at  intervals  is 
always  a source  of  great  satisfaction. 

Gallery  75.  Sargent.  A small  adjoining 
gallery  is  given  entirely  over  to  a few  Sargents 
[70] 


“SPANISH  COURTYARD” 

FROM  THE  OIL  PAINTING,  BY  JOHN  SINGER  SARGENT 
GALLERY  75 


THE  UNITED  STATES 

which  are  quite  sufficient  to  maintain  this  great 
stylist,  whom  many  believe  the  towering  giant 
of  the  profession.  One  thing  is  evident  from 
this  work — that  for  surety  of  touch  and  technical 
directness  he  stands  practically  alone,  though 
he  does  not  possess  the  deliberate  ease  in  which 
Duveneck  rejoices.  Sargent’s  “John  Hay”  and 
“Henry  James”  are  absolutely  exhaustive  as 
character  studies.  His  “Nubian  Girl”,  however, 
is  woody,  no  matter  how  interesting  in  posture. 
In  nothing  does  he  disclose  his  marvelous  pre- 
cision of  technique  so  completely  as  in  some  of 
the  outdoor  studies,  like  the  “Syrian  Goats”  and 
the  “Spanish  Stable”.  There  is  nothing  like  them 
in  the  exhibition  anywhere,  and  these  two 
things  alone  make  up  for  what  is  really  not  a 
comprehensive  display  of  one  of  the  greatest  of 
modern  living  painters.  However,  a man  whose 
standard  of  excellence  is  relatively  very  even 
does  not  need  a large  representation. 

Gallery  90.  Keith.  In  two  other  small 
galleries  of  similar  size  three  California  painters 
have  their  inning.  While  all  these  are  of  differ- 
ent caliber,  they  have  something  in  common 
which  ties  them  closely  together.  It  seems  pe- 
culiar that  a country  famed  for  its  sunshine 
should  produce  men  like  Keith,  Mathews,  and 
McCom'as,  who  surely  do  reflect  a rather  somber 
atmosphere,  in  a type  of  work  which  must 
be  called  tonal  and  arbitrary  rather  than 
naturalistic. 

Keith’s  collection,  with  the  mass  of  modern 
landscape  all  around,  and  even  compared  with 
other  followers  of  the  Barbizon  school,  seems 
somewhat  somber,  as  compared  with  the  vital 

[71] 


THE  UNITED  STATES 

buoyancy  of  Redfield  and  others  of  Redfield’s 
type.  His  range  of  idealistic  landscape  subjects 
is  intimate,  but  not  characterized  by  the  stirring 
suggestion  of  outdoors  which  Inness,  Wyant, 
and  others  of  his  school  possess.  Keith’s  mar- 
velous dexterity  of  brushwork  really  constitutes 
his  chief  claim  upon  fame,  and  some  of  his 
best  things  are  gems  in  easy-flowing  methods  of 
painting  which  the  best  men  of  the  Barbizon 
school  seldom  approached.  Keith  must  not  be 
looked  upon  as  a painter  of  nature  nor  even  an 
interpreter  of  nature.  He  used  landscapes  sim- 
ply to  express  an  ever-changing  variety  of 
personal  emotion.  His  attitude  toward  nature 
in  his  later  work  was  of  the  most  distant  kind, 
although  his  early  career  was  that  of  the  most 
painstaking  searcher  for  physical  truthfulness. 

Gallery  76.  Mathews  and  McComas. 
Mathews  and  McComas  do  not  exactly  make 
good  company.  While  closely  related  in  the 
decorative  quality  of  their  work,  they  are  not 
alike  in  any  other  way.  Mathews’  art  is  emo- 
tional. It  tells  something  beyond  mere  colour, 
form,  and  composition,  while  McComas’  art 
is  mostly  technical,  in  the  clever  manipulation 
of  a very  difficult  medium.  His  sense  of  con- 
struction and  feeling  for  effect  is  very  acute. 
He  is  becoming  so  expert,  however,  in  the  hand- 
ling of  watercolour  that  one  sometimes  wishes 
to  see  a little  more  of  that  accidental  charm  of 
surface  that  his  older  work  possesses. 
GENERAL  COLLECTION 

Having  reached  far  into  the  heart  of  the 
modern  American  section  by  way  of  the  one- 
man  galleries,  a chronological  pursuit  of  our 
[72] 


_ > o o 

— (rt  ►O  H O 
m > a 2 
2 5 n ;□ 
-<  2 2 
o 2 ^ W 

-i§5  = 

5;s 


OAKS  OF  THE 


THE  UNI  ED  STATES 

Study  is  no  more  necessary  nor  possible.  Almost 
all  of  the  pictures  in  the  modern  American 
section  have  been  produced  since  1904,  the 
year  of  the  last  international  exhibition,  at 
St.  Louis,  and  they  reflect  in  a very  surprising 
way  the  tremendous  advancement  of  native  art 
to  a point  where  comparison  with  the  art  of  the 
older  nations  need  not  be  feared.  In  all  the 
fields  of  painting,  including  all  subjects,  por- 
traits and  figures  generally,  landscapes,  marines, 
and  still-life,  we  can  turn  proudly  to  a great 
number  of  painters  who  interpret  candidly  and 
vigorously  the  world  in  which  we  live. 

Gallery  71.  The  gallery  nearest  to  the 
one  just  visited  gives  a good  idea  of  the  mastery 
of  a variety  of  subjects  in  the  art  of  painting, 
and  to  continue  our  investigations  from  this 
point  is  just  as  logical  as  from  any  other  part  of 
the  modern  American  section.  In  this  gallery, 
easily  located  by  two  large  parvenu  portraits 
of  dubious  merit,  are  some  others  which  are 
really  vital  expressions  of  modern  art.  Begin- 
ning on  wall  A,  going  to  the  right,  Luis  Mora’s 
“Fortune  Teller”  and  Meakin’s  landscapes  should 
be  singled  out.  On  the  west  wall  Frederic 
Clay  Bartlett’s  painting  of  an  interior  and 
Norwood  McGilvary’s  nocturne  charm  in  differ- 
ent ways,  while  on  the  adjoining  wall  Ritschel’s 
marine  and  Rosen’s  winter  scenes  display  excel- 
lent quality  of  design,  with  fine  outdoor  feeling. 
Miss  Fortune’s  Mission  interior  deserves  its 
distinction  of  having  been  bought  by  William 
M.  Chase.  Robert  Nisbet  contributes  a rare 
green  tree  design,  and  Hayley  Lever’s  harbor 
pictures  are  all  performances  of  superior  merit. 

[73] 


THE  UNITED  STATES 

Gallery  70.  This  gallery  is  given  over 
entirely  to  portraits,  most  of  v/hich  are  so  devoid 
of  any  real  merit  that  it  is  relatively  very  easy 
to  single  out  the  good  ones.  Flagg’s  portrait 
of  the  sculptor  Bartlett,  a portrait  by  Robert 
David  Gauley  over  the  door,  the  lady  with  the 
fur  on  the  second  line  on  wall  B,  with  her  neigh- 
bor, Lazar  Raditz,  by  himself,  are  better  than 
the  many  others,  which  are  all  well  done  but 
do  not  interest  one  enough,  for  one  reason  or 
another.  The  one  picture  in  this  gallery  that 
comes  very  near  being  of  supreme  beauty  is  the 
young  lady  reclining  on  a chaise  longue,  the 
work  of  E.  K.  Wetherill.  Very  few  pictures  in 
this  gallery  come  up  to  the  placid  beauty  of 
this  distinguished  canvas,  which  is  somewhat 
handicapped  in  its  aesthetic  appeal  by  some 
unnecessarily  tawdry  bits  of  furniture  and 
bric-a-brac  used  in  its  make-up. 

Gallery  69.  “Phyllis”  here  represents  John 
W.  Alexander,  that  most  capable  artist,  lost  to 
the  world  recently  at  the  height  of  a very  useful 
career.  William  Beatty’s  and  Francis  Murphy’s 
landscapes,  on  either  side,  are  both  beautiful,  in 
the  Barbizon  spirit.  Howard  Russell  Butler’s 
“Spirits  of  the  Twilight”  is  very  luminous,  and 
Lawton  Parker’s  “Paresse”  in  its  sensual  note 
runs  “Stella”  a close  second  in  a colour  scheme 
and  design  of  such  beauty  that  one  cannot 
help  getting  a great  deal  of  aesthetic  satisfaction 
from  it,  aside  from  its  too  apparent  sensational 
character. 

Galle  RY  68.  This  large  central  gallery  aver- 
ages unusually  high  in  the  large  number  of  excel- 
lent things  it  contains.  Four  big,  well  studied 
[74] 


3 r*i  W 

S 3: 


THE  UNITED  STATES 

marines  by  William  Ritschel  make  one  feel  proud 
of  the  contribution  they  make  to  the  field  of 
American  marine  painting.  It  is  very  hard  to 
say  which  one  of  our  four  well-represented  marine 
painters,  Carlsen,  Waugh,  Dougherty,  and  Rit- 
schel, is  most  captivating.  However,  a canvas 
like  Ritschel’s  “In  the  Shadow  of  the  Cliffs”  will 
always  hold  its  own  among  the  best.  Ritschel’s 
work  is  easily  recognized  by  this  robust, 
healthy  tone;  it  reveals  sound  values  and 
intimate  study.  One  of  Johansen’s  small  land- 
scapes, and  another  one  by  de  Camp,  on 
the  second  line  of  this  wall,  grow  in  one’s  esti- 
mation on  longer  acquaintance.  They  are  in 
fine  style  and  very  big  for  their  size,  largely  by 
reason  of  their  monumental  skies.  Howard 
Cushing’s  group  in  the  center  is  full  of  skilfully 
presented  detail,  without  losing  in  breadth  in 
the  many  different  subjects  he  paints.  His 
portrait  of  a lady,  in  the  center,  is  distinguished 
in  every  way,  not  least  so  in  expression. 

Johansen’s  main  group  of  pictures,  all  on  one 
wall,  stand  for  breadth  and  intimate  study  alike. 
The  Venetian  square  canvas  in  the  middle  is  one 
of  the  jewels  of  this  exhibition.  There  is  no  end 
of  distinctive  canvases  in  this  gallery,  as  one 
must  conclude  on  going  over  to  the  two  big 
Daniel  Garbers,  which  are  more  of  the  typical 
American  type  than  his  others  in  the  group. 
The  one  on  the  right  is  a perfect  unit  of  colour, 
atmosphere,  and  pattern.  In  between,  Spen- 
cer’s backyard  pictures  reveal  a sympathetic 
younger  painter  who,  for  reason  of  his  choice 
of  proletarian  subjects,  does  not  get  the  attention 
he  more  than  deserves.  Most  original  in  tech- 

[75] 


THE  UNITED  STATES 
nique  and  charming  in  tone,  they  interest 
wherever  one  meets  them  in  the  exhibition. 

On  the  second  line  a delightful  Speicher  land- 
scape should  not  be  overlooked.  On  wall  D 
an  important  winter  landscape  by  Schofield 
reminds  one  forcibly  of  the  many  excellent 
painters  of  ice  and  snow  we  have  in  this  country. 
They  are  really  the  backbone  of  our  American 
outdoor  artists,  and  all  of  them,  with  the  excep- 
tion of  Gardner  Symons,  can  be  found  in  the 
exhibition.  To  this  group,  beside  Redfield  and 
Schofield,  before  mentioned,  belong  Charles 
Morris  Young,  John  F.  Carlson,  Charles  Rosen, 
and  others.  Leon  Kroll’s  “River  Industries” 
and  “Weehawken  Terminal,”  on  the  second  line, 
are  so  typically  American  in  subject  that  they 
would  have  been  unacceptable  to  the  public 
here  twenty  years  ago. 

Gallery  67.  This  large  room  continues  to 
hold  the  attention  of  the  visitor  by  more  ex- 
cellent specimens  of  present-day  art.  Dough- 
erty’s marines  as  well  as  Waugh’s  very  precise, 
somewhat  metallic  seascapes  have  been  re- 
ferred to  before.  Dougherty’s  group  of  four 
pictures  is  augmented  by  two  Spanish  canvases 
by  Lewis  Cohen,  of  which  the  one  to  the  right  is 
far  more  convincing  than  the  other.  They  are 
somewhat  artificial  in  colour.  Emil  Carlsen’s 
only  contribution,  a fine  open  sea,  has  a quality 
all  its  own.  The  feeling  of  pattern  in  sky  and 
water  surface,  combined  with  great  delicacy 
and  suggestion  of  absolute  truthfulness,  gives  it 
a quality  quite  apart  from  the  energetic  art  of 
Waugh,  Ritschel,  and  Dougherty.  John  F. 
Carlson  always  has  style  to  his  work,  a certain 
[76] 


“FLOATING  ICE: 


THE  UNITED  STATES 

unaffected,  noble  simplicity,  well  brought  out  in 
three  sympathetic  pictures  grouped  near  the 
Emil  Carlsen  marine.  Adding  to  the  con- 
spicuousness of  that  wall,  Charles  H.  Davis  and 
Leonard  Ochtman  hold  their  own  in  their  im- 
portant setting.  The  only  two  figure  pictures 
in  this  neighborhood  are  particularly  lovely  in 
colour  and  design,  and  R.  P.  R.  Neilson  deserves 
much  praise  for  having  struck  a unique  note 
conspicuous  among  the  many  commonplace 
portraits  of  the  present  day.  Wendt’s  “Land  of 
Heart’s  Desire”  is  unusually  happy,  and  it  sup- 
ports its  title  admirably.  Very  decorative  in 
feeling,  it  is  compelling  in  its  appeal  to  the  public. 
Maynard  Dixon^  another  Californian,  shows  an 
original  small  canvas,  “The  Oregon  Trail,” 
endowed  with  big  feeling. 

Two  cases  in  this  gallery  encourage  investi- 
gation of  American  accomplishments  in  the  field 
of  animal  sculpture,  and  on  closer  examination 
of  offerings  in  this  most  interesting  field,  we 
find  an  unusually  creditable  lot  of  work  by  Fred- 
erick Roth,  Albert  Laessle,  Arthur  Putnam,  and 
Charles  Cary  Rumsey.  They  should  be  consid- 
ered in  a group  if  their  relative  merit  is  to  be 
fully  appreciated.  Kemeys  and  Proctor  some- 
what antedate  them  all  in  their  work  (in  gal- 
leries 69  and  72).  Roth  is  next  door  to  Kemeys 
in  45,  among  a variety  of  things  done  mostly  in 
glazed  clay.  A very  fine  sense  of  humor  comes 
to  the  surface  most  conspicuously  in  “The 
Butcher”,  “The  Baker”,  and  “The  Candlestick 
Maker”.  Putnam  and  Laessle  are  in  this  gallery 
side  by  side.  In  sharp  contrast  with  the  former’s 
muscular  and  broad  type  of  modeling,  the  latter 

[77] 


THE  UNITED  STATES 
has  a very  precise  and  Japanesque  quality  of 
detail  modeling  which  is  sometimes  a little 
photographic.  Charles  Cary  Rumsey  is  only 
a few  steps  away,  in  gallery  48.  In  his  original 
subject  of  a horse  and  man  drinking  he  strikes  a 
particularly  unique  note. 

Gallery  80.  Here  Metcalf’s  “Blossom 
Time”  reveals  the  most  poetic  of  our  modern 
American  painters.  The  man  who  bought  it 
made  a good  investment.  In  ten  years  it  will  be 
a classic  and  worth  its  weight  in  gold,  including 
the  frame.  This  canvas  gives  one  more  thrills 
than  almost  all  the  others  by  the  same  man — 
good  as  they  are.  The  “Trembling  Leaves”  is 
superb,  but  a fussy  frame  destroys  half  the 
pleasure.  Mrs.  Philip  Hale’s  elegant  and  re- 
fined interior,  together  with  Paxton’s  figural 
work,  prove  that  we  have  conquered  successfully 
a certain  field  of  genre  which  the  American  art- 
lover  has  been  in  the  habit  of  buying  in  Europe. 
Paxton’s  “Housemaid”  is  entirely  in  the  spirit 
of  the  old  Dutch,  and  his  “Bellissima”  is  most 
luminous  alongside  of  his  other  works. 

Gallery  51.  This  magnetic  collection  comes 
somewhat  as  a shock  to  the  public,  who  can’t  be 
blamed  for  its  disapproval  of  the  recent  sensa-, 
tional  experiments  of  Henri  and  Glackens.  It 
is  impossible  to  understand  why  a man  like 
Glackens  should  so  illogically  abandon  the  sound- 
ness of  his  older  work  and  do  those  inharmonies 
of  form  and  colour  which  he  presents  on  the  A 
wall.  His  “Woman  with  Apple”  is  absolutely 
absurd  and  vulgar  beyond  description.  She 
has  “character,”  if  that  is  what  he  is  after, 
because  her  vulgarity  is  convincing.  The  rest 
[78] 


THE  UNITED  STATES 

of  the  things  are  ridiculous  in  their  riotous  super- 
ficiality. Carles  seeks  the  same  expression  of 
individuality  for  which  Glackens  strives  so  hard. 
In  his  small,  square  picture,  “Repose,”  Carles 
is  most  successful.  Here  he  has  created  a great 
work  of  art — beautiful  as  well  as  full  of  char- 
acter. This  qanvas  is  one  of  the  most  successful 
of  the  new  style.  It  needs  no  apologies,  and  it 
has  all  the  qualities  of  an  old  master,  with 
modern  virility  and  colour  added  to  it.  Let  us 
have  new  things  like  this  and  we  shall  not  regret 
having  tolerantly  and  patiently  watched  all  the 
many  idiocities  which  are  paraded  around  under 
the  pretext  of  research  and  experimentation. 
Breckenridge’s  still-lifes  are  startling  at  first, 
but  studied  singly  they  reveal  a fine  sense  of 
colour.  They  constitute  a serious  and  success- 
ful contribution  to  modern  art,  without  being  in 
the  least  grotesque.  I should  like  to  have  one  of 
them  in  my  house,  without  fear  of  their  very 
vigorous  colour.  In  a totally  different  vein 
Everett  L.  Bryant  gives  some  still-lifes  which 
continue  certain  impressionistic  methods  with 
wonderful  delicacy.  In  certain  surroundings  they 
will  add  distinction  even  to  a commonplace  room. 
Anshutz’s  “Lady  in  Red”  is  a very  good  academic 
study  in  a colour  which  in  large  quantities  is 
very  difficult  to  handle. 

Gallery  50.  The  academic  school  is  con- 
tinued in  spirit  in  Sergeant  Kendall’s  refined 
portraits,  augmented  by  a painted  wood  sculp- 
ture of  unusual  quality,  reminiscent  of  the 
masters  of  the  early  German  Renaissance. 
Louis  Kronberg  has  his  customary  ballet  girl 
and  Hermann  Dudley  Murphy  some  of  his 

[79] 


THE  UNITED  STATES 

typical,  refined  marines.  His  surfaces  are  always 
delectable  and  like  the  inside  of  a shell  in  their 
glistening  blues  and  pinks.  Both  Nelson  and 
Hansen,  two  native  Californians,  are  well  repre- 
sented— one  by  a Monterey  coast,  the  other  by 
a forcefully  painted  decorative  picture  called 
“The  Belated  Boat.”  Lathrop  adds  two  placid 
pictures,  of  which  the  canal  is  the  more  skillfully 
composed. 

Gallery  49.  Peace  reigns  supreme  in  this 
gallery  of  Tryon  and  Weir.  Tryon  reflects  all 
the  poetic  qualities  of  the  Barbizon  group  with- 
out striking  a new  note  either  technically  or  in 
composition.  His  larger  canvases  are  of  great 
beauty,  very  tender  and  poetic,  and  altogether 
too  sweet  to  have  you  feel  that  they  were  painted 
for  any  other  reason  than  to  make  a pretty 
picture.  His  smaller  work  gives  you  that  feeling 
more  than  his  larger  ones.  Alden  Weir’s  art  is 
the  direct  opposite  of  this.  Searching  for  truth, 
character,  and  beauty,  he  labors  over  simple 
subjects  with  great  concentration  and  does  not 
stop  until  they  seem  like  silver  symphonies. 
His  art  is  personal  and  must  be  studied  at  great 
length  to  be  fully  appreciated.  It  expects  a 
great  deal  of  concentration,  but  one  willing  to 
take  the  trouble  will  be  amply  rewarded  by  ever 
increasing  pleasure.  The  art  of  McLure  Hamil- 
ton is  more  interesting  in  the  power  of  psycho- 
logical characterization  than  in  painting.  His 
pictures  are  painted  thinly,  more  like  water- 
colours than  oils. 

Gallery  48.  No  noteworthy  contribution 
is  made  here,  unless  one  excepts  the  academically 
clever  portraits  by  Troccoli,  a landscape  by 
[80] 


“THE  HOUSEMAID” 

FROM  THE  OIL  PAINTING,  BY  WILLIAM  MCGREGOR  PAXTON 
GALLERY  80 


THE  UNITED  STATES 

Vonnoh,  and  a sumptuous  bed  of  rhododendrons 
by  Edward  F.  Rook.  Two  large  “Grand  Canons” 
again  demonstrate  the  utter  futility  of  trying  to 
paint  such  motives,  which,  in  their  success, 
depend  entirely  upon  a feeling  of  scale  that  is 
almost  impossible  to  attain  on  a small  canvas. 

Gallery  47.  Here  Blumenschein’s  large 
Indian  compositions  are  of  decorative  character. 
They  are  well  composed  and  dramatic.  The 
“Peace  Maker”  is  big  in  feeling.  Typically 
American  and  very  unusual  are  Colin  Campbell 
Cooper’s  New  York  street  perspectives.  His 
originality  as  a painter  is  well  demonstrated 
by  this  choice,  which  must  have  taken  much 
courage  at  a time  when  American  subjects 
were  more  or  less  despised.  Richard  Miller’s 
“Pink  Lady”  does  not  look  a bit  convincing, 
cleverly  as  it  is  painted;  it  is  not  interesting 
enough  in  the  large  surfaces  of  overnaturalistic 
pink  flesh.  Half  that  size  would  have  been  just 
enough  for  this  canvas,  which  is  chiefly  a conces- 
sion to  the  modern  mania  for  painting  large 
exhibition  pictures  to  attract  attention  by  their 
size  alone.  Groll’s  desert  pictures  are  disap- 
pointing. They  have  neither  interesting  colour 
nor  sufficient  atmosphere  to  come  up  to  the 
standard  of  this  typical  desert  painter. 

Gallery  46.  There  is  a lovely  note  in  this 
gallery,  contributed  by  Ruger  Donoho’s  garden 
scenes.  Most  unusual  in  subject,  they  are  full 
of  life,  vibrant  with  colour,  and  altogether  very 
delightful,  a most  pleasant  change  from  the 
ordinary  run  of  subjects.  Frank  Dumond’s 
work  on  another  wall  (B)  excels  in  a pleasant 
mannerism.  His  work  is  most  thoughtful  and 

[81] 


THE  UNITED  STATES 
well  studied.  The  smallest  two  of  his  paintings 
are  perfect  gems  in  every  way — well  balanced  by 
two  small  tender  canvases  of  southern  Europe  by 
Mrs.  Dumond  (on  the  opposite  wall).  Two 
portraits  in  this  gallery,  Inez  Addams’  “Daphne” 
and  Adolphe  Borie’s  “Spring,”  should  not  be 
slighted.  Borie’s  is  very  strong,  and  one  of  the 
best  portraits  on  exhibition.  Alongside  of  it  is 
a winter  landscape  by  Ernest  Albert,  which, 
while  a little  timid,  is  nevertheless  poetic  and 
more  convincing  than  others  of  that  type  near  by. 

Gallery  45.  Charles  Morris  Young’s  art 
is  so  refreshing,  so  spontaneous  in  every  way, 
that  it  catches  one’s  eye  immediately  on  passing 
on  into  this  room.  His  work  deserves  recogni- 
tion for  more  than  one  reason.  His  handling  of 
paint  is  fresh  and  clear  and  a direct  aiming  for 
a final  expression  of  what  he  wants  to  convey. 
Any  one  of  the  six  subjects  is  well  handled. 
They  give  one  the  feeling  of  the  artist’s  thorough 
understanding  of  his  material.  His  own  “House 
in  Winter”  and  the  “Red  Mill”  reach  the  high- 
water  mark  of  landscape  painting  in  the  exhibi- 
tion. Griffin’s  pictures,  on  another  wall,  so 
openly  disregard  technical  rules  in  their  careless 
superimposition  of  unnecessary  paint  that  in 
spite  of  a great  richness  of  colour  and  a certain 
suggestion  of  truth,  they  are  not  apt  to  hold 
one’s  affection  very  long.  They  are  sincere,  I 
admit,  but  careless  in  technique.  There  is  no 
doubt  about  it,  because  heavy  paint  and  bare 
pieces  of  canvas  will  not  make  durable  pictures. 
Birge  Harrison  is  disappointing  in  two  pastels 
which  seem  too  chromo-like,  too  mechanical,  to 
carry  their  point. 

[82] 


z 


THE  UNITED  STATES 

Gallery  44.  This  collection  is  not  at  all 
without  interest,  but  with  the  few  exceptions 
pictures  in  it  are  not  strong  enough  to  hold  their 
own  with  so  many  good  things  abounding  else- 
where. Ralph  Clarkson’s  portrait,  Bartlett’s 
schoolyard,  Perrine’s  technically  urtique  land- 
scape, are  all  meritorious. 

Gallery  43.  Frederic  M.  Dumond’s  “Sea 
Carvings”  in  the  corner  and  Nahl’s  decorative 
composition  attract,  each  in  its  way,  while  in 
another  corner  a badly  skyed  portrait  by  Hinkle 
is  scarcely  given  a chance. 

Gallery  74.  It  will  be  necessary  to  make  a 
little  journey  over  to  the  inner  side  of  the  arch 
of  the  building  to  continue  and  finish  the  art  of 
modern  America.  In  this  small  gallery,  adjoin- 
ing Sargent’s,  nothing  stirring  happens.  Land- 
scapes predominate,  with  varying  interest,  but 
nothing  with  any  style  or  unity  of  expression 
presents  itself,  with  the  exception  of  Carl  Oscar 
Borg’s  “Campagna  Romana”  and  a fine  sky 
over  the  door  by  William  J.  Kaula.  The  land- 
scapes of  H.  R.  Sutter  and  Will  S.  Robinson 
stand  out  among  the  rest. 

Gallery  73.  Next  door,  in  73,  Alson  Skin- 
ner Clark  has  been  given  the  privilege  of  almost 
an  entire  gallery,  without  any  other  justification 
than  historical  interest  in  his  shallow  Panama 
scenes,  devoid  of  any  quality.  They  are  illus- 
trations— ^that  is  all.  Gifford  Beal  disappoints 
in  some  superficial  paintings  of  commonplace 
subjects,  which  a skillful  technique  might  easily 
have  turned  into  something  worth  while.  His 
“Old  Town  Terrace”  is  much  the  best,  but  the 
collection  makes  one  apprehensive  for  Beal’s 

[83] 


THE  UNITED  STATES 
future  performances.  Paul  King’s  canvas  over 
the  door  is  excellent,  well  painted,  and  interest- 
ing in  subject. 

Gallery  72.  There  seems  no  end  of  pro- 
ductiveness of  American  painters,  and  justice 
demands  more  investigation  and  undeniably 
more  steps.  Ladies  with  parrots,  with  and 
without  clothes,  are  numerous,  but  the  one  in 
here  is  more  interesting  than  the  others.  I hope 
that  not  all  of  these  parrot  pictures  are  meant 
symbolically.  Walter  MacEwen  arouses  mem- 
ories of  times  gone  by,  technically  and  other- 
wise, in  a huge  storytelling  Salon  picture.  More 
ladies  in  conventional  sitting  posture  willingly 
sat  for  more  pictures  without  adding  new  thrills. 
Meyn’s  portrait,  Gertrude  Fiske’s  sketch, 
Olga  Ackerman’s  group  of  children,  are  all 
deserving  of  study.  Max  Bohm’s  two  big 
figural  pictures  are  decoratively  interesting 
enough,  but  bad  in  paint.  One  of  the  best  land- 
scapes can  be  found  here  in  Henry  Muhrman’s 
work,  over  the  MacEwen.  There  is  nothing 
sensational  about  it,  but  its  somber  dignity 
stands  out  among  many  modern  works.  On  the 
opposite  wall  Mrs.  Sargent’s  “Mount  Tamalpais” 
is  unusual  in  composition  and  rich  in  colour. 

Separated  from  the  rest  of  the  American 
section  by  Holland  and  Sweden,  a series  of 
galleries  are  in  grave  danger  of  being  overlooked. 
Undoubtedly,  to  offset  this  apparent  isolation, 
some  of  the  most  alluring  paintings  can  be  found 
at  this  end. 

Gallery  117.  Here  is  Frederic  Frieseke, 
our  expatriated  American,  with  hisffascinating 
boudoir  scenes.  Very  high  in  key  and  full  of 
[84] 


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THE  UNITED  STATES 

detail,  at  first  they  seem  restless  and  crowded, 
which  some  actually  are,  in  a degree.  But  can- 
vases like  “The  Garden”  and  “The  Bay  Win- 
dow” and  “The  Boudoir”  are  real  jewels  of  light 
and  colour.  “The  Bay  Window”  is  the  most 
placid  of  his  canvases  and  in  conception  much 
finer  than  his  outdoor  subjects.  Frieseke’s  clear, 
joyous  art  is  typically  modern,  and  expresses  the 
best  tendency  of  our  day.  Luis  Mora’s  two 
watercolours,  while  illustrative,  hold  their  own 
in  Frieseke’s  company.  Tanner’s  big  religious 
canvas  falls  far  below  this  capable  painter’s  usual 
efforts.  Native  talent  helps  out  in  a delightful 
marine,  honestly  painted  by  Bruce  Nelson,  and 
an  apple  green  and  pale  pink  colour-harmony  by 
Charlton  Fortune.  Very  much  in  the  style  of 
the  Frieseke,  Rittman’s  “Early  Morning  in  the 
Garden”  is  easily  taken  for  the  art  of  his  fascinat- 
ing neighbor,  but  it  should  be  recognized  as  the 
work  of  another  kindred  spirit. 

Gallery  118.  In  118,  landscapes  predomi- 
nate over  figural  work,  at  least  in  quality. 
Henry  Leslie  Hoffman’s  “Spring  Mood,”  Wilbur 
Dean  Hamilton’s  tender  and  poetic  canvas,  and 
Louise  Brumbach’s  city  view  bathed  in  the 
grays  of  an  early  morning  call  for  recognition. 

Gallery  119.  The  general  character  of  the 
next  gallery  is  different  from  the  preceding. 
Given  over  to  oils,  watercolours,  pastels,  litho- 
graphs, and  drawings,  it  presents  an  interesting 
appearance.  Six  pastels  by  Henry  Muhrman 
and  Frank  Mura’s  charcoal  drawings  are  the 
leaders  here,  and  the  drawings  generally  are  the 
best  things  among  the  many  oils  and  water- 
colours, which  were  mostly  made  for  purposes  of 

[85] 


THE  UNITED  STATES 
illustration.  Drawings  by  Martinez,  pastels  by 
Miss  Percy,  two  sympathetic  drawings  by  Miss 
Hunter,  and  a few  still-lifes  in  watercolour,  by 
Miss  Boone,  all  bear  testimony  to  native  ability 
as  represented  by  California. 

Gallery  120.  The  last  gallery  contains 
Bellow’s  bold  canvases,  of  which  “The  Polo 
Game”  is  the  best  known,  another  fine  canvas  by 
Henry  Muhrman,  and  some  older  American 
work  by  Stewart,  typical  of  what  we  used  to 
send  to  Europe  in  years  gone  by. 

In  the  Garden.  While  many  plastic  works 
have  been  mentioned  in  the  survey  of  the 
galleries,  still  great  numbers  of  statues,  statuettes, 
and  fountain  figures  call  for  investigation,  out 
of  doors.  Sculpture  is,  on  the  whole,  not  so  com- 
plex as  painting,  and  dealing  with  the  expression 
of  emotions  much  more  directly  than  painting, 
it  can  easily  be  understood.  Of  the  many  pieces 
displayed  outside,  Janet  Scudder’s  fountain 
figures  earn  all  the  applause  they  receive,  and 
most  of  the  other  sculptors  are  old  friends,  since 
they  have  been  met  with  in  the  decorative  em- 
bellishments of  the  architecture  of  the  Exposi- 
tion. There  is  Aitken,  with  a bust  of  Taft; 
Chester  Beach,  with  a young  girl  in  marble,  of 
great  charm;  Solon  Borglum’s  Washington,  Mrs. 
Burroughs’  garden  figure,  Stirling  Calder,  and 
Piccirilli — all  well  remembered.  It  is  gratifying 
to  meet  all  these  men,  and  many  others,  in  freer 
and  more  detached  expression  of  their  art,  under 
conditions  where  no  severe  architectural  restric- 
tions were  put  !upon  them. 


[86] 


“BEYOND” 

FROM  THE  MARBLE,  BY  CHESTER  BEACH 
IN  THE  COLONNADE 


1 


1 

\ 

i 


I 


'I 


1 


t 


THE  GRAPHIC  ARTS 

Conclusion 


IT  will  be  necessary  to  retrace  our  steps  to  take 
up  a series  of  galleries  all  along  the  outer  curve 
of  the  building.  They  are  devoted  to  illustra- 
tions, miniatures,  stained  glass,  plaques,  and  the 
many  expressions  of  graphic  art  we  know  as 
black  and  white,  charcoal  and  pencil  drawing, 
monotypes,  lithotints,  etchings,  and  so  on. 
With  Whistler’s  etchings  on  one  end  of  the  arch, 
we  find  Howard  Pyle  at  the  other. 

Gallery  42.  Pyle,  since  his  death  a few 
years  ago,  is  recognized  as  the  most  important 
of  American  illustrators.  His  art  is  most  intel- 
lectual. It  commands  immediate  respect  for  its 
historical  interest,  which  is  based  on  more  than 
mere  knowledge  of  the  story  illustrated.  His 
milieu  is  always  right,  distinctly  so  when  he 
deals  with  the  West  Indian  buccaneers.  His 
sense  of  colour  is  simple  and  dignified.  It  has 
the  typical  breadth  and  decorative  feeling  that 
men  like  Jules  Guerin  and  Maxfield  Parrish  de- 
veloped. Pyle  was  not  an  ordinary  illustrator. 
His  interest  in  his  work  showed  much  depth  and 
great  originality.  There  is  nobody  to  take  his 
place.  In  the  small  adjoining  gallery  (41)  his 
black  and  white  drawings  strengthen  one’s 
impression  of  this  versatile  man’s  art. 

Gallery  40.  Here  we  have  Guerin  in  all 
the  glory  of  his  rich  colour  harmonies,  which 

[87] 


THE  GRAPHIC  ARTS 
have  made  the  Exposition  famous.  Painstaking 
and  conscientious  as  his  art  is,  it  is  always  full  of 
power  of  suggestion.  Every  square  inch  of  his, 
most  agreeably  framed  decorations  is  well  con- 
sidered, with  nothing  left  to  accidental  effect. 
Still,  they  are  full  of  freedom,  very  loose  in  hand- 
ling, and  always  convincing.  To  choose  the 
best  among  his  eight  is  very  difficult,  although  his 
“Cemetery  on  the  Golden  Horn”  on  longer  study 
does  not  seem  to  be  free  from  a certain  arti- 
ficiality of  colour,  in  the  reddish  hue  of  the 
reflected  sunlight  on  the  cypresses.  The  “Blue 
Mosque  at  Cairo”  is  wonderfully  poetic,  and  his 
“Temple  of  Sunium”  has  all  the  tragic  feeling  of 
the  classic  ruins  of  Asia  Minor.  Opposite  Guerin 
Mr.  and  Mrs.  Hale  display  unusual  refinement 
and  grace  of  form  in  a unit  wall  of  drawings  and 
pastels.  Mrs.  Hale’s  drawings  are  the  quintes- 
sence of  delicacy,  without  possessing  any  of  the 
sugary  disagreeable  sw'eetness  of  so  many  of 
our  popular  illustrators.  Mr.  Hale’s  pastels  are 
no  less  enchanting  in  his  outdoor  compositions 
in  many  soft  greens — a difficult  colour  to  deal 
with.  The  many  other  things  in  this  gallery  are 
all  worth  studying  in  their  conservatism  and 
radicalism. 

Miniatures  abound  here  and  endless  sighs  are 
heard  of  entranced  ladies  who  have  succumbed 
to  the  sentimental  insipidness  of  these  misplaced 
artistic  efforts.  Miniature  painting  holds  no 
charm  for  me.  Most  of  them  are  technical 
stunts  and  concessions  to  a faddism  which  has 
never  had  anything  to  do  with  the  real  problem 
of  painting.  Practically  all  of  the  miniatures  in 
the  cases  are  very  well  done,  but  when  I think  of 
[88] 


"IN  THE  STUDIO” 

FROM  THE  OIL  PAINTING,  BY  ELLEN  EMMET  RAND 
GALLERY  65 


THE  GRAPHIC  ARTS 

the  physical  discomfort  of  adjusting  one’s  eyes 
to  this  pigmy  world,  then  I cannot  help  feeling 
that,  considering  the  low  cost  of  canvas,  a great 
deal  of  fine  effort  has  been  wasted.  Looking  at 
miniatures,  I am  always  reminded  of  the  man 
who  spent  several  years  of  his  useless  life  in 
writing  the  Old  Testament  on  the  back  of  a 
postage  stamp. 

Gallery  39.  McLure  Hamilton  has  a fas- 
cinating group  of  anatomical  sketches  in  this 
small  gallery.  They  are  all  charming  fragments 
of  a lady  one  would  like  to  know  more  about.  As 
drawings  they  are  spirited  and  full  of  rhythmic 
linework.  Their  fragrant  rococo  style  brings  one 
back  into  that  original  atmosphere  the  destinies 
of  which  were  so  largely  controlled  by  similar 
attractions.  The  apotheosis  in  his  collection  is 
furnished  by  a drawing  of  a recently  abandoned 
or  to-be-occupied  nest,  presented  in  a most  sug- 
gestive manner.  In  the  cases  plaques  and 
medallions  abound,  the  interest  of  which  is 
largely  attributable  to  Frazer’s  excellent  work. 

Gallery  38.  This  room  continues  to  hold 
one’s  interest,  with  some  small  pieces  of  plastic 
art,  all  of  great  merit. 

Gallery  37.  Watercolours  make  up  the 
chief  problems  of  study  in  this  long  room,  with- 
out convincing  one  that  we  have  any  too  many 
great  painters  in  this  medium.  The  best  thing 
among  the  many  commonplace  paintings  is  a 
marine  by  Woodbury  which  takes  you  far  out 
on  the  open  sea.  In  spite  of  its  size  it  is  a big 
picture,  one  of  the  really  big  ones  in  any  medium 
in  the  whole  exhibition.  All  of  Woodbury’s 
paintings  are  big  in  their  way,  and  prove  what 

[89] 


THE  GRAPHIC  ARTS 
can  be  done  in  this  medium.  Many  other  things 
here  are  only  coloured  photographs  and  technical 
experiments,  the  exceptions  being  Dawson’s 
clever  flower  studies,  Miss  Schille’s  market 
scenes,  and  Henry  McCarter’s  “King  of  Tara”. 
Murphy’s  small  Venetian  sketches  are  not  so 
good  as  they  seem  at  first. 

Gallery  36.  Things  look  up  considerably 
in  the  last  of  the  galleries  on  the  north.  A fine 
watercolour  by  Mr.  Mathews,  good  drawings  by 
Sandona  and  Fortune,  exposition  sketches  by 
Dora  Schuster,  decorative  designs  by  Lucy 
Hurry,  are  all  compelling  in  their  way,  while  in 
the  cases  are  any  number  of  good  caricatures, 
and  especially  worthy  of  mention  the  bird  de- 
signs by  Charles  Emile  Heil. 

Gallery  34.  Across  the  vestibule  the 
graphic  arts  are  continued,  beginning  with 
colour  lithographs  and  monotypes,  and  con- 
tinued with  etchings.  George  Senseney,  Arthur 
Doro,  Helen  Hyde,  Pedro  Lemos,  Clark  Hobart, 
and  others  too  numerous  to  mention  excite  con- 
siderable interest.  A battle  of  elephants  by 
Anna  Vaughan  Hyatt  is  worthy  of  study  on 
account  of  its  unusual  subject,  so  handled. 

Gallery  55.  This  room  is  entirely  devoted 
to  etching  and  full  of  good  people.  Auerbach 
Levy  has  some  portraits  splendidly  character- 
ized. Arthur  Covey,  Mahonri  Young,  Lester 
Hornby,  Clifford  Addams,  and  Robert  Harshe 
are  all  equally  well  represented,  in  their  many 
fine  etchings,  and  Perham  Nahl  with  some 
monotypes  of  fine  quality. 

Gallery  32  contains  George  Aid,  Frank 
Armington,  D.  C.  Sturges  (reminiscent  of  Zorn), 
[90] 


“EUCALYPTI,  BERKELEY  HILLS** 

FROM  THE  TEMPERA  PAINTING,  BY  EUGEN  NEUHAU3 
GALLERY  47 


1 

I 


1 


THE  GRAPHIC  ARTS 

and  Ernest  Roth.  Franklin  T.  Wood’s  dry- 
point  portraits  are  noteworthy  as  examples  of  a 
very  difficult  technique. 

Galleries  31  and  30.  Pennell’s  admirable 
lithographs  and  etchings  of  various  scenes  are  so 
descriptive,  aside  from  their  technical  excellence, 
that  they  are  not  in  need  of  further  recommenda- 
tion. And  neither  are  Mullgardt’s  lithographs 
nor  those  of  Worth  Ryder  next  door. 

The  general  character  of  all  of  these  some- 
what inconspicuous  galleries  is  most  satisfactory. 
They  contain  in  well-arranged  fashion  the  real 
art  of  the  people,  the  things  that  people  who  can- 
not afford  to  buy  paintings  can  easily  afford  to 
own.  Original  etchings,  mezzotints,  and  wood 
block  prints  and  other  process  work  often  more 
truly  contain  the  real  point  of  artistic  effort  than 
big  paintings  done  laborously  with  no  other  in- 
terest than  to  make  a large  painting  for  some 
show.  It  is  gratifying  and  it  speaks  well  for  our 
public  to  see  so  many  of  these  small  works  of  art 
sold  and  scattered  among  the  public.  Only  in 
this  way  can  we  hope  to  make  our  exhibition 
useful  to  artist  and  public  alike.  Mr.  Harshe, 
Mr.  Trask’s  able  and  conscientious  assistant, 
has  put  much  labor  and  thought  into  the  arrange- 
ment of  these  many  cases  and  wallspaces  in  a 
really  instructive  way.  It  does  not  seem  neces- 
sary to  go  into  the  meaning  of  the  many  ex- 
amples of  graphic  art.  They  are  often  self- 
explanatory,  particularly  where  used  for  illustra- 
tion, and  so  far  as  their  technical  production  is 
concerned,  it  is  too  big  a subject  to  fit  into  the 
physical  confines  of  this  book. 


[91] 


CONCLUSION 

Much  of  this  work,  to  all  indications,  is 
going  to  remain  with  us,  and  the  success  of  our 
exposition  can  hardly  be  measured  better  than 
by  the  ever-increasing  number  of  purchasers. 
Art  has  to  live,  and  in  our  country  it  exists  only 
by  the  patronage  which  comes  directly  from  the 
people,  since  federal,  state  and  municipal 
governments  seldom  contribute  toward  its  sup- 
port. Not  until  the  community  feels  it  a 
privilege  rather  than  a duty  to  give  substantial 
encouragement  to  our  artists  will  they  ever  feel 
completely  at  home  or  will  they  be  able  to  do 
their  best  work. 

Art  is  becoming  more  of  a necessity  in  our 
midst,  while  not  so  long  ago  it  was  more  or  less 
an  affected  interest  of  the  rich.  We  have  all 
the  conditions  and  the  talent  to  allow  us  to  push 
ahead  into  the  front  rank  of  the  art  of  the  world, 
and  an  exposition  like  this  gives  more  than 
encouraging  evidence  of  the  awakening  spirit  of 
national  American  art.  May  this  exposition 
mark  an  epoch  in  the  art  of  America ! — and  par- 
ticularly of  the  West,  as  other  expositions  have 
in  the  westward  march  of  civilization,  which  has 
now  found  its  goal  where  it  must  either  achieve 
or  perish.  For  us  to  stand  still  or  to  return  to  the 
pre-exposition  period  would  be  calamity.  We 
have  here  in  California,  of  all  the  states  of  the 
Union,  conditions  to  offer,  which,  if  properly 
availed  of,  would  give  us  a unique  position  on 
the  continent.  Climatically  and  historically  we 
have  all  the  stimulating  necessities  for  a great 
art,  and  it  is  our  duty  to  take  advantage  of  them. 


[92] 


APPENDIX 


BIBLIOGRAPHY 


To  the  student  and  lover  of  art,  a list  of  helpful  reference  books 
and  periodicals  might  be  of  interest,  and  the  following  publi- 
cations are  recommended  as  sources  of  reference,  information 
and  for  study.  They  cover  a wide  range  of  subjects  treated  historically, 
technically  and  biographically,  and  they  will  be  found  very  interesting 
as  a nucleus  for  a home  library  of  art. 


Art  for  Life’s  Sake Chas.  H.  Caffin 

American  Masters  of  Painting  . Chas.  H.  Caffin 

American  Masters  of  Sculpture  . Chas.  H.  Caffin 

How  TO  Study  Pictures  ....  Chas.  H.  Caffin 

The  Story  of  American  Painting  . Chas.  H.  Caffin 

Short  History  of  Art — Edited  by  Charles 

H.  Caffin Julia  De  Forest 

The  Classic  Point  of  View  ....  Kenyon  Cox 

What  is  Art? JohnC.  Van  Dyke 

The  Meaning  of  Pictures  . . John  C.  Van  Dyke 

How  TO  Judge  of  a Picture  . John  C.  Van  Dyke 

History  of  Painting  ....  John  C.  Van  Dyke 

Art  for  Art’s  Sake  ....  John  C.  Van  Dyke 

New  Guides  to  Old  Masters  . John  C.  Van  Dyke 

Studies  in  Pictures  ....  John  C.  Van  Dyke 

The  Appreciation  of  Sculpture  . Russell  Sturgis 
The  Appreciation  of  Pictures  . . Russell  Sturgis 
The  History  of  Modern  Art  ....  Muther 
Modern  Art Meier  Graefe 


Arts  and  Crafts  in  the  Middle  Ages 

Julia  de  Wolf  Addison 

Apollo,  A History  of  Art  Throughout  the  Ages 

S.  Reinach 

Six  Lectures  on  Painting  ....  G.  Clausen 

Landscape  Painting Birge  Harrison 

Landscape  Painting Alfred  East 

History  of  American  Art  . . Sadakichi  Jlartmann 

Pictorial  Composition  and  The  Critical  Judgment 

OF  Pictures Henry  R.  Poore 

Design  in  Theory  and  Practice  Ernest  A.  Batchelder 
Line  and  Form Walter  Crane 

[95] 


1 


BIBLIOGRAPHY 

Heritage  of  Hiroshige Dora  Amsden 

Impressions  of  Ukiyo-Ye  ....  Dora  Amsden 

Biographical  Sketches  of  American  Artists 

Michigan  State  Library 

Is  It  Art?  Post-Impressionism,  Futurism,  Cubism 

/.  Nilsen  Laurvik 


PERIODICALS 

Art  and  Progress 
The  Craftsman 
International  Studio 


[96] 


THE  GALLERIES  OF  THE  EXPOSITION,  BY 
EUGEN  NEUHAUS,  PUBLISHED  tY  PAUL 
ELDER  AND  COMPANY,  SAN  FRANCISCO, 
WAS  PRINTED  AT  THEIR  TOMOYE  PRESS, 
UNDER  THE  DIRECTION  OF  H.  A.  FUNKE,  IN 

julYilNineteen  hundred  and  fifteen 


Duke  University  Libraries 


D01028868X 


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